quête:this is head

2023 Repress

King Tubby's and Channel One were two of the great studios that produced so many of the great reggae rhythms in Kingston.Jamaica find themselves here for one night only battling for the trophy.
So who would be better placed to compare the Dub Soundclash from the two great studios then Bunny Lee himself.
Throwing rhythms over at Channel One who had enlisted the great DJ Jah Stitch to return the fire.
So sit back and enjoy two great institutions of the Reggae sound ,battling it out for sumpremacy.
The winner...we will leave that decision up to the listener.
But in this Dub Soundclash there is no loser...
All killer..No filler...Enjoy

Back on the Discos Panorama series we head once again to Colombia, this time pairing two Afro-cumbia dancefloor weapons from Afrosound and Wganda Kenya — two giants of the late-’70s and early-’80s tropical scene.

Around this time Colombian studios, particularly those connected to Discos Fuentes, were beginning to push things forward. Traditional cumbia rhythms were still at the core, but now they were being driven by electric organs, synths, drum machines and fuzzed-out guitars. The result was something raw, hypnotic and incredibly rhythmic — records that feel almost proto-electronic, long before anyone would’ve used that word.

The two cuts on PAN014, originally released in 1978 and 1981, capture that moment perfectly. Rolling percussion, locked-in basslines and swirling keyboards create grooves that just keep building. They’re party records, no doubt about it, but there’s something else going on too — repetitive, driving, almost techno in spirit, the kind of tracks that can run for minutes and never lose the floor.

The A Side is the anthem, the B Side feels like it was lost on an LP…

Part of PANORAMA’s Discos Panorama series, this one continues the label’s focus on bringing essential Colombian dance music back to DJs and collectors. Carefully remastered and pressed on 7inch, these are the kinds of records that instantly change the temperature in a room.

Lewis Taylor is a rising 20-something house head from Newcastle who shows off his chops on this new one from Ebullience. Ebullience is a good way of describing his take on tech and minimal, too. There is plenty of cheer in the lively synth work of opener 'Do You Wanna Come Party', to which the answer is yes, please, very much so. 'Satisfaction' has its head up in the clouds with more wispy cosmic synth motifs, zippy grooves and silky pads that are luminous and pure. 'Optimism' strikes that same balance between low-end oomph and celestial melodic charm - a fresh, future blend that is perfect for summer. 'Still Dreaming' closes with more mature melodies and accomplished arrangements that quietly buzz.

DJ Himitsu is a Tokyo-born, London-based producer and DJ, known for his understated approach and deep knowledge of Japanese vinyl and book culture. Following a debut EP of acid house on Australian imprint Lunatic Music in 2023, 'Exotic Animals' marks a new waypoint in Himitsu's artistic evolution.

On this debut full length, driving 303 basslines and kickdrums are traded in for obscure recordings and convoluted samples, which spiral and fuse to form shuffling, heady new compositions. Like shattered pottery reassembled into top-heavy sculptures with golden glue, 'Exotic Animals' shapes and juxtaposes opposing forms and fragments, with lolloping aplomb.

When not producing, DJ Himistu runs Caravan - a vintage Japanese record, ceramics and bookshop in London. It's with the same warmth, care and curiosity that he arranges his findings in the plunderous grotto of 'Exotic Animals'. In this way, stepping inside this work is like entering a remote trading post of instruments, memoirs and other sonic curios - as Himitsu stands patiently at the counter.

Recommended for fans of Jon Hassell, Giovanni Venosta, Discrepant.

Adeen Records is next to give weight to the rising profile of Paolo Aniello aka New Digital Fidelity, an accomplished house producer who heads up his own Scopic label which this release is in collaboration with. Raised in Bari and now based in London, Aniello shows this love of Midwestern classics with a release that is slow burning and soulful rather than extroverted in its grooves. The A-side cruiser '4 Hours Away From Southside' sets a smooth tone with gentle chords awakening your soul then '9 Hours Landing' has a jumbled percussive element and heavy, almost beatdown kicks. 'Lake Shore Drive' glides into candlelit late-night territory with dusty drums and frayed analogue edges that get reworked by Ge-Ology into something more busy and futuristic.

MEMORIALS jump off the waterslides and head above the clouds with their stunning second album, ‘All Clouds Bring Not Rain’. The duo of Verity Susman and Matthew Simms (formerly of Electrelane and WIRE) locked themselves away in a studio in a barn secluded deep in the woods in southwestern France and re-emerged with a beautiful, unusual record that is both melodic and unconventional. For such an ambitious album it’s striking that it was written, performed, recorded and mixed solely by the two of them. Sounding like an unearthed classic, MEMORIALS twist their influences into their own unmistakable sound. Imagine Nico singing with Can produced by David Axelrod and you’re somewhere in the right ballpark.

The record draws inspiration from a wide range of music including folk, dub, post punk, experimental tape music, 60s soul, garage rock, 70s spiritual jazz and Canterbury prog. This attention to detail in their sound meant finding several other studios to get what they needed to record with, including a harpsichord at 4AD’s studio in London and a vibraphone and vintage Leslie speaker in Stereolab drummer Andy Ramsay’s studio Press Play. Verity’s distinctive, unadorned singing is a focal point of the record, moving from tender to wild. Her vocal melodies quickly become earworms, providing the tuneful heart around which the songs’ more unorthodox elements are arranged, which is where Matthew’s unconventional approach to recording and production comes to the fore. With their adventurous arrangements, classic songwriting skills and innovative production techniques, MEMORIALS have created another mesmerising listen that’s accomplished and compelling in its unique approach yet remains dizzyingly immersive - just like their acclaimed live shows.

Psychic Zebra third 12" release, TMRS by Todd Modes and Ryan Spencer. Todd and Ryan put everything into this one and came out with something that genuinely moves. I brought back Hugo Capablanca for the artwork, Dietrich Schoenemann on mastering, and Archer Record Pressing to press it right. ‘Talk Talk (LA Guitar Mix)’ is the slow burn with guitars from Scott McNamara weaving through Todd and Ryan's production. Sounds like flying into 1980s LAX at night. Wheels down. City lights. No luggage. ‘Talk Talk (Frantic Mix)’ flips it on its head. Same bones, completely unhinged with Sarah O's vocals stacked over a groove that doesn't quit. ‘Risk Of The Road’ sits in heavy space between dance and dub. ‘Weird Wave’ is exactly does what it says. Trust the description.

TMRS is already receiving early support from Richard Sen, Dave Harvey, Jenö and The Warehouse Preservation Society.

oung Adults return to their spiritual home, Private Parts, for their third outing on the label with a monstrous four–track EP packed with everything.

Kicking things off is Get A Grip — haunting pads, squelchy bass and rolling beats set the tone from the off. Next up, Listening Spa dives into robotic tech grooves making this pure heads-down, hip-shaking tackle.

Flip to the B side and G-mate (In Rest) delivers flanging snares, driving house basslines and a pace that’s properly effective. Closing the EP is the bouncing Sauna Cell 120°C, bringing even more bass, lush pads and a final headsy trip.

Young Adults and Private Parts continue to prove they’re a match made.

Nilüfer Yanya has built a reputation as one of the UK’s mostdistinctive and compelling voices, seamlessly blending indie rock,soul and jazz into a sound uniquely her own. She released her third studio album, ‘My Method Actor’, onSeptember 13th, 2024, via Ninja Tune. The album receivedwidespread critical acclaim, earning the No. 13 spot on Pitchfork’s listof The 50 Best Albums Of 2024. Now, she releases her highly anticipated our-track EP, ‘DancingShoes’, co-written with her frequent collaborator Wilma Archer. Run of UK / EU festivals this summer including Glastonbury on theWest Holts stage (recorded and broadcasted via BBC 6 Music),Green Man, All Points East, Primavera a la Ciutat, Best Kept Secret,Way Out West and Oya Festival. Supporting Alex G on his US tour, and Lorde (90K cap) on her arenatour, with stop offs at the 02 Arena, Utilita Arena and OVO Hydro,plus Michael Kiwanuka in Istanbul for a one-off show (8K cap). Nilüfer Yanya has previously opened for Adele, The xx and Mitski, aswell as selling out her own headlining shows across Europe,Australia, Japan and the US. Previous collaborators include Sampha, King Krule, Nick Hakim,Bullion, Dave Okumu, and more. For fans of Arlo Parks, King Krule, Sharon Van Etten, Helado Negro,Sudan Archives.  “It’s a neat, cohesive body of work, one that stretches past theboundaries of her prior album.” - NME
“Over a lo-fi drum machine and eerie guitar figures, ‘Cold Heart’ floatsabout like ‘In Rainbows’-era Radiohead, while ‘Where To Look’’satmosphere is eventually punctured by sonic implosion.”- TheGuardian
“Colored with the London singer-songwriter’s signature smoky voiceand searing guitar riffs” - Pitchfork

Moondata’s little-known sole single, 1984’s decidedly Balearic, jazz-funk/boogie fusion gem ‘Let The Moonshine In’, is a very important record to the Rotation Sound System crew. It has become a familiar favourite at their annual Rotation Garden Party micro-festival and formed the centrepiece of their first compilation, summer 2025’s superb Everything You’re About To Hear Is True Volume 1. It’s increasingly rare these days for an artist from the 80s to still have their master tapes but even rarer still for them to have the multitrack tapes too. This is something of the holy grail when it comes to licensing old music so when it happens the opportunity to remix and create new versions needs to be grabbed with both hands.

The original record, a genuine rarity beloved of synth-loving crate-diggers, had an unusual gestation. Originally recorded in demo form by musician Jean-Marie Gogniat, it was turned into a finished single by a group of German musicians with a little help from lyricist and vocalist Joe Mwenda, and a crew of backing vocalists whose number included a locally based American singer – a pre-fame Jennifer Rush. Fittingly, the pre-vocal instrumental mix, which has sat unreleased since 1984, is included as a bonus track on the digital edition of this new remix package. The Rotation Sound System crew’s mixes, headed up by long-serving producer Dean Meredith, sprinkle 21st century magic across Gogniat’s one-off masterpiece while retaining core elements of the original and offering nods aplenty to club-focused sounds of the 1980s. They are, in effect, the versions the track deserved – but never got – back in the mid 1980s.

To begin, Meredith reunites with long-time production partner Andrew Meecham for the pair’s first remix as Chicken Lips in three years – a typically sparse and spaced-out ‘Malfunction Dub’ with delay-laden synths, vocals and guitar snippets sit over a sparse post-electro beat and bass guitar. Meredith then joins forces with fellow Rotation Sound System member Ben Shenton for takes under their two bestknown aliases. First, they don the T-Kutt guise for some dubbed out, funky bass guitar-propelled boogie-meets-proto house action that rocks out a killer, Clavinet-expanded groove while spinning in talkbox and backing vocals.

The pair then re-emerge as Mind Fair, famed for their releases on Golf Channel Recordings and their own Rogue Cat Sounds, and deliver a warmer, deeper and more organic-sounding take that’s as languid and tactile as it is warm and saucereyed. To round off the vinyl version of the EP, Rotation Sound System’s other core members – Rob J, Rich Hall and Stuart Robinson – don the now-familiar Wrekin Havoc guise and re-invent the track as a raw, analogue-rich shuffle through 1980s electro – all squelchy synth-bass, stabbing, cut-up vocal samples, chiming synth melodies and echoing beats. The expanded digital download edition of the EP contains a trio of additional bonus rubs. Alongside instrumental versions of the T-Kutt and Mind Fair mixes, we also get a full vocal T-Kutt rework that adds back in Joe Mwenda’s beautifully delivered verses. These additional DJ tools round off a beautifully rendered set of re-imaginations of a genuine cult classic. Gogniat, the man who started it all way back in the summer of 1984, certainly approves.

Born in Wroc?aw. Known and liked as a member of the Wroclaw-based duo Skalpel. Much less known and liked as the author of several solo albums that illustrate and explore different states of consciousness: Breslau (solo debut released on Ninja Tune) - the frenzy of war, Dream Logic - the meanders of dreams, Delirium - psychedelic hallucinations, Fyodor - religious exaltation and ethical illusions. On the album "Refleks", he explores the state of consciousness of an old digger and beatmaker. He lives in Wroclaw.
About Refleks:

Refleks is tender and free. Of the two meanings of this word in Polish, I choose the one that is a reflection of light on a river. Hypnotic and never monotonous, brilliant and charming, with depth slumbering beneath. The whirlpools we encounter on the album are only slightly cunning; they are rather playful. Although one can look into the abyss, it is not greedy-it allows you to stay on the shore and does not consume you unconditionally.
In some tracks, it even throws you out: you think you're still riding that slide-a tunnel you think is endless-but it ends safely and suddenly in the grass. In the plush. As if a momentary wind carried you away, only to stop at the least expected moment, finding yourself in a completely new yet seemingly familiar space-time-at home, which is not yours, yet not foreign either. While the titles clearly suggest Wroc?aw-based situations, in my opinion, we are moving on a higher level of intimacy and abstraction. On the waves of the ether, the forgotten element of everything that cannot be measured, weighed, or counted. What we know for sure, but might only seem so to us. In the hospitable cosmos of a well-settled head.

Precisely one year after Lézire, Crush of Souls is back with his third full-length album.

The musical endeavour of Charles Rowell – active in the indie/punk global scene since 2008 with bands like Crocodiles, Flowers of Evil, Issue – is just like its creator: always cooking up something. Relentlessly.

Now, as it was perceivable by the trajectory undertaken by after his previous LP, Captive Youth leaves goth rock and dark folk aside and head swiftly towards some old school 80’s EBM & 90’s Industrial dance vibe. After all, any album exploring themes of dystopia, politics and sexuality requires a strong rhythm. So how could this new chapter not mention seminal synth-pop and body music classics such as Technique by New Order, Belief by Nitzer Ebb, Towards Thee Infinite Beat by Psychic TV and Pressure Points by Anne Clark?

Forever a displaced soul, Charles’ album number three feels like a revision of Crush Of Souls and also a reanimation of his captive youth spent moving from town to town. The energy of the wandering worker poet. Warehouse basslines, artillery fire backbeats. Romance and melancholy wrapped in barbed wire. All this and more oozes from nine new tracks that inevitably deliver that blurry sexy urban vibe that’s become the project’s trademark.
Features collabo hit single Domination with Sade Sanchez from L.A. Witch.

House favourites Kai Alce, JKriv, Sean McCabe and Medlar debut on Universo Positivo with their masterful reworks from Universo Positivo’s catalog. After two years of agenda-setting sounds, the label is set to drop this classy remix EP, and in that time, founder Joseph Salvador has established the label with a mix of his own music and fresh grooves from carefully A&R’d pioneers and new school names. He has been doing much the same since the 90s with various projects from his cult TINK Records and the Tomorrow Is Now Kid! nights in Amsterdam, in collaborative production outfits like Black Tulip & Wendell Morrison, and releasing records by DJ Steaw, Malin Genie, Fabio Monesi and more. This latest release brings together some of the most respected names in the scene for four standout reworks.

First up, Atlanta-based NDATL label head Kai Alce, who has long been one of deep house's most influential architects. He flips 'Sonido Latino' into a smooth groove with jazzy, Roy Ayers-style melodies that bring a soft-focus glow and late-night intimacy. Then comes Bristol-based don Sean McCabe, a master of vintage synths with a 20-year back catalogue on seminal labels like Local Talk, Strictly Rhythm and Z Records. His take on 'Ipanema Jazz' maintains the original's samba shuffle but reframes it in a deep house groove with extra expressive jazz keys, dainty chords and playful trumpet motifs.

Brooklyn-based groove architect and Razor-N-Tape co-founder JKriv brings his many years of experience as a guitarist, producer and songwriter to his take on 'Caparica Sunset'. It's a deep, driving sound that's playful and romantic with flirtatious horns and soft acid, dusty breakbeats and luscious grooves for loved-up good time sessions. Last but never least, is Medlar, the South London underground maverick with a wide-ranging sound and album credits on the likes of the hallowed Delusions Of Grandeur. He remixes 'U R The Revolution' into a warm, euphoric rush of throwback house that's warm, melodic and sure to get the floor going right off.

Revered selector Moodymann remixes ‘Take Me As I Am’ by Detroit artists Dames Brown, from their 2026 Defected LP of the same name. First distributed as a super-exclusive dubplate at Amsterdam Dance Event in late 2025, this avant-garde remix showcases a master at work, transforming the soulful feel of ‘Take Me As I Am’ into a provocative, groove-laden sonic experience for heads in the know.

Kicking off 2026 with a bang, Dames Brown’s hotly anticipated full-length LP ‘Take Me As I Am’, presented by Amp Fiddler, paid homage to the late Detroit pioneer while re-introducing the vocal-house trio to the world. Across 14 tracks, the Dames weaved together their disco, R&B and house influences and collaborated with Eddie Fowlkes, Andrés, Waajeed and Amp Fiddler himself.

The critically acclaimed LP was recognised by DJ Mag, Mixmag and Billboard, with the latter noting the project is “dripping with all the soul, style, funk and feeling that you might expect from the powerhouse Detroit trio.” Title track ‘Take Me As I Am’ represented the album’s elevated house sound in full, and now this fresh re-arrangement by fellow Detroiter Moodymann has arrived.

For Gradients 4th instalment they welcome an artist whose longevity and contribution to music speaks for itself. Doncaster legend Mella Dee presents a 4 track special full of
Weird and wonderful spangle-core rollers. It’s twisted, dark and generally a little bit off it’s head. Designed for times when things are getting strange. Not for the faint of heart, no fancy tricks just bleeps bass and a bucket full attitude.

This release is set to fly out… so don’t sleep!

NEIL ARDLEY – KALEIDOSCOPE OF RAINBOWS The Definitive 2LP Reissue of a Landmark in British Jazz Fusion
Analogue October Records proudly presents the long-awaited reissue of Kaleidoscope of Rainbows, Neil Ardley’s 1976 masterpiece, originally released on Gull Records. Produced by Neil Ardley and recorded at London’s famed Morgan Studios, the sessions were engineered and mixed by Martin Levan, capturing one of the most ambitious and beloved works in British jazz. Following the acclaimed reissues of Courtney Pine’s Journey to the Urge Within (AOR-001-ST) and Neil Ardley’s Harmony of the Spheres (AOR-002-ST)—both praised by the audiophile press including The Tracking Angle—this third release confirms Analogue October as one of today’s most meticulous and exciting reissue labels.
A Suite of Sound and Colour
Commissioned for the 1975 Camden Jazz Festival, Kaleidoscope of Rainbows is structured as a seven-part suite, each movement reflecting a colour of the spectrum. Ardley’s composition weaves together jazz improvisation, progressive rock energy, and orchestral elegance in one of the most imaginative British jazz recordings of the era. Featuring Ian Carr, Barbara Thompson, Tony Coe, Trevor Tomkins, and Geoff Castle, the album is a who’s who of the UK’s vibrant 1970s jazz scene.
Cut at Abbey Road, Pressed at Record Industry
For this definitive edition, Analogue October worked directly from the original Gull master tapes. Mastering was entrusted to Miles Showell at Abbey Road Studios, using his renowned half-speed process to extract every detail and dynamic from Ardley’s score. To give the music the headroom it deserves, the reissue has been expanded to a deluxe 2LP set, pressed on the highest-quality vinyl at Record Industry in Haarlem, Netherlands. The result is a presentation that finally does justice to the scope and brilliance of Ardley’s vision.
Deluxe Package – Restored from the Source
The artwork has been meticulously restored from the original film elements, ensuring a sleeve of unmatched vibrancy and fidelity. Inside, a 12-page booklet printed on heavyweight card features an in-depth essay on Neil Ardley and the making of Kaleidoscope of Rainbows, written by Jazzwise magazine editor Mike Flynn, alongside rare photographs from the period.
Curated and Produced by Craig Crane
As with every Analogue October release, Kaleidoscope of Rainbows has been curated and produced by label founder Craig Crane with a collector’s eye for detail and a deep respect for the music’s legacy. This reissue is not only the definitive vinyl edition of one of the great British jazz fusion albums—it also continues the label’s mission to restore and celebrate the most vital recordings of the era.
Neil Ardley’s Kaleidoscope of Rainbows—vivid, expansive, and timeless—returns as the essential edition for audiophiles and jazz lovers alike.
Retail-ready product description (short form):
Produced by Neil Ardley and recorded in 1976 at London’s Morgan Studios, engineered and mixed by Martin Levan, Kaleidoscope of Rainbows is a cornerstone of British jazz fusion. This definitive 2LP reissue, mastered at Abbey Road by Miles Showell from the original Gull master tapes and pressed at Record Industry (NL), finally gives the music the dynamic headroom it deserves. The deluxe edition includes restored artwork and a 12-page booklet featuring an in-depth essay by Jazzwise editor Mike Flynn.

Split System, the Aussie group featuring Jackson Reid Briggs (Jackson Reid Briggs & The Heaters) on vocals and Arron Mawson (Stiff Richards) on guitar, took the punk world by storm with its debut EP this past spring. That was hardly surprising given the talent involved. But whatever my expectations were for Split System, the Melbourne-based outfit far exceeded them. Not just another "super group" (also on board are guitarist Ryan Webb Speed Week, bassist Deon Slaviero, and drummer Mitch McGregor [No Zu]), Split System is straight-up one of the most powerful and exciting punk rock and roll bands of recent memory. The band's EP was a smasher, and now debut album Vol. 1 emphatically follows suit. My god, this record is a monster! Essentially Split System's sound is classic Aussie punk. That may sound like nothing new, but this band executes the style with a force and fury rarely heard these days. It doesn't hurt that Jackson Reid Briggs is one of the best rock and roll screamers going. He's got a fire inside of him. Meanwhile, Mawson and Webb form one hell of a guitar tandem. And that rhythm section is insane. These are all brilliant players who come together to make an extraordinary band. Vol. 1 comes storming out of the gates with "The End" and never lets up. Of course we knew some of the previously-released tracks ("Hit Me," "Demolition," "Climbing") were going to rip. But the newer material is just as good and will just about melt your face off. Songs like "Ringing In My Head" and "Grip" are pure energy and ferocity, while closing track "Feelings" has a mellowed-out Saints feel. This band knows how to rock and roll, and there are literally no songs on this album that don't entirely kick ass. Sometimes we think of these all-star groups as "side projects," but such categorization would sell Split System woefully short. If we're talking about the top three or four punk bands in Australia right now, this has to be one of them! Josh Rutledge/ Faster and Louder