quête:z people

Star People is a 1983 album by the famous jazz trumpeter and composer Miles Davis. It is the first to feature electric guitarist John Scofield, who was recommended by saxophonist Bill Evans, and the last to be produced by long-standing collaborator Teo Macero. Bassist Marcus Miller plays on five of the tracks. Electric guitarist Mike Stern features on most of the pieces, and drummer Al Foster and percussionist Mino Cinelu round out the rhythm section. Davis played trumpet and Oberheim synthesizer simultaneously (without using overdubs), and on separately recorded interludes for the over-18-minute-long blues composition ""Star People"". Star People is available as limited edition of 1500 individually numbered copies on orange and white marbled vinyl.

Following their acclaimed debut album from 2022 on Alien Transistor Records, What Are People For? now release their first 7" single from the upcoming album, with a dark ambient R’n’B banger "Criminals" on the A-side, telling tales of snoozing criminals and tantalising promises of "Someday we will all be rich".

The already legendary B-Side features a charming smokefilled-bubblegum Spanish & English cover of the Cypress Hill song "Illusions", together with The Notwist, which they developed whilst on tour together last year. Obviously, a product of the recent legalisation of marijuana in Germany: Ich liebe dich Marianne.

Endlich sind die HIts von Cyber People wieder als Vinyl erhältlich.
Italo Disco und Spacesynth Fans dürfen sich auf folgende Titel freuen:
Polaris – Void Vision – Doctor Faustu's – Digital Signal Processor
Die Erstauflage in farbiger Vinyl ist streng limitiert.

"Foster The People melden sich nach drei Jahren mit neuer Musik zurück. Just in time für den Sommer veröffentlicht die dreifach Grammy-nominierte Multiplatin-Band einen Song, der strahlt wie die Sonne oder wahlweise wie ein glitzerndes Disco-Outfit, denn „Lost In
Space“ ist getragen von jeder Menge Late-70s-Großartigkeit. „Floating and drifting and flying through the open sky“, hält es auch Mark Foster in den Lyrics kaum am Boden.

Mit „Lost In Space“ feiern Foster The People ihr Debüt bei Atlantic Records und kündigen gleichzeitig ihr viertes Studioalbum an. Es trägt den Titel „Paradise State of Mind“, erscheint am 16. August und wird sieben Jahre nach dem letzten Longplayer „Sacred Hearts Club“ mit Spannung erwartet."

Don’t let the list of stellar sideman gigs (with Elvin Jones, Miles Davis, Freddie Hubbard, McCoy Tyner, Woody Shaw et al.) make you overlook the solo work of saxophonist Azar Lawrence; for over 45 years he has recorded a string of spiritual ‘n’ soulful jazz albums that come closer to the ethos and aesthetic of John Coltrane than probably any of Lawrence’s contemporaries. Recorded for the legendary Prestige label in 1976, People Moving is his third solo album, and it’s one of his best; it features such luminaries as Lee Ritenour, Patrice Rushen, Harvey Mason, and Mtume on a soaring set of funky tunes produced by a young Skip Scarborough, who would go on to helm recordings by Bobbie Humphrey, Con Funk Shun, and Phyllis Hyman among others. First vinyl reissue!

Acid Jazz's announcement of the 30th anniversary 2LP remastered edition of Mother Earth's The People Tree is a momentous occasion for fans of acid jazz and soul music alike. Originally released in 1994, this album holds a significant place in the genre's history, blending elements of soul, funk, and folk-tinged rock from the 70s with a modern twist. The special edition reissue boasts the original album, along with three previously unreleased tracks and six making their vinyl debut. Remastered from the original analogue recordings, this release promises to breathe new life into the beloved classic. Featuring guest appearances from iconic artists like Paul Weller, Dee C Lee and Simon Bartholomew of Brand New Heavies, The People Tree is a testament to the collaborative spirit of the acid jazz scene. Notable bonus tracks include the previously unreleased alternative version of 'Apple Green,' an alternate take on 'Illusions,' and the title track itself. First-time vinyl cuts offer fresh perspectives on tracks like 'Jesse' and 'Slide Sweet Baby,' adding depth to the listening experience. The album's presentation is equally impressive, with a beautiful 'wide-spine' layout, printed inner sleeves, and insightful notes from label-founder Eddie Piller, accompanied by unseen photos from the original cover shoot. Overall, this anniversary edition of The People Tree is a album worth your time as it often selected for one of the best examples in the genre.

A key funk release from 1971, 'For The People' was the 2nd album by interracial Soul-Rock band led by vocalist Milt Matthews.

oreglo is made up of c-sé (keys), Linus Barry (guitar), Nico Rocco (drums) and Teigan Hastings (tuba), who all met growing up in London. Nico and Linus met at secondary school, before Nico went on to meet Teigan and c-sé through the youth organisation Tomorrow’s Warriors, bringing them all together.
Across the Not Real People EP, oreglo showcase their innovative take on multiple genres: freewheeling through heavy rock riffs to drill-inspired percussion and breezy reggae, the quartet have cultivated a unique sound that acts as a melting pot of all the sounds they know and love from London.
Since officially forming just over a year ago, they've already been hand-selected by Ezra Collective to win the 2023 Lambeth Sounds Emerging Artists x Cross The Tracks competition; played the recent Steam Down–curated World Island event in Leeds; supported Gabriels at Somerset House; composed for The 1975's North American tour; and have seen support from Steve Lamacq, Jack Saunders + more across national radio.

PATRICK HIGGINS is an American composer, guitarist, and producer from New York City, known for his work in experimental and contemporary classical music. Higgins plays guitar and composes in the band Zs, described by The New York Times as "one of the strongest avant-garde bands in New York." Heralded as a "formidable concert music composer" (Boston Globe) and "one of the most gifted guitarists working today" (The Quietus), Higgins has received attention for bridging traditions including baroque chamber music, contemporary noise, electronics and 20th century minimalism. His work has been performed in over 25 countries internationally, and he has composed works for some of the world's leading ensembles, ranging from chamber orchestra works, percussion cycles, and string quartets to smaller ensembles and soloists. He has scored works for television, museum exhibitions, and films both short-form and feature-length. Since 2013, he has operated Future-Past Studios, a recording studio in upstate NY.
He recently had a solo exhibition of artworks and sheet music, as well as two world premiers, at The Clark Museum in MA, USA. In 2019, he was a curator and headliner of the Le Guess Who festival in Holland. Higgins has performed and presented works at many of the world's largest festivals and venues across the past 12 years, including The Broad Museum (LA), The Warhol Museum, SF MOMA, Unsound Festival (Poland), Pioneer Works (NYC), Monom Berlin, Sony Ginza Park (Tokyo), ReWire (Holland), Cleveland MOCA, ICA Boston, Teatro Carignano (Torino IT), Sacrum Profanum (Kracow), Merriweather Post Pavillion, Donau Festival (Austria), Paula Cooper Gallery (NYC), Club Unit (Tokyo), Shakespeare Theater (Gdansk), The Netherlands Philharmonic Orchestra and many more.

“Featuring appearances from: Special Guest DJ, Ben Bondy, Hysterical Love Project and some other people we can't name for legal reasons"

The holographic swarm that is Downstairs People returns with their latest collection of subconscious songwriting. Simply titled ‘DSP’, Downstairs People’s sophomore album expands on their surreal horoscope of Top 40 musings, with nine works that explore the altered states of pop.

DSP reimagines the FM radio spectrum with distorted hooks, sour candy production and cascading vocal harmonies with no lyrics. Sung to us in an unknown language, it’s an archive of warped transmissions from beyond our solar system, conveniently recorded and presented as a flat, spinning monolith.

A brief history of having no time, and an ode to the subversive power of pop music.

The large and humanistic ensemble Black Lives , led by bassist Reggie Washington (brother of drummer Kenny Washington) and his wife Stefany Calembert, is working to fulfil a dream - some would say a utopia - that is as much musical as it is social. Musicians from the U.S., Africa, the Caribbean, and Europe are united by a common language in their fight for equality and justice. It's about the future of our societies, which are lost in the excesses of all-consuming materialism and mistrust of others. A natural convergence of musical and cultural aesthetics - jazz, soul, funk, hip hop, blues - is shaping a declaration of love and an act of resistance. Hearts beat fast and fists are raised high! The watchwords call for a world of unity, peace, and freedom. It's a strong belief in tomorrow. 'If you unite and struggle, it's possible to change.'

The new album from Lebanese-American musician Solpara, Melancholy Sabotage, marks his full length debut and return to Nicolas Jaar's Other People label. While it was recorded over Covid lockdowns, Jaar had been talking about wanting to back a Solpara full-length since he put out Swing. The album came to life while Solpara was living alone in a Brooklyn loft, collecting unemployment checks and viewing ample free time as the artist residency he'd dreamed of; he'd previously been forced to make music in odd windows between numerous jobs and the unmerciful pace of city life. Free from obligations, he would wake up early to take Arabic lessons online, read Tracey Thorn's autobiography, and skateboard the deserted streets, then come home and design sounds until he had a track that felt like it needed to be released. While this easy going lifestyle was peaceful in many ways, Solpara found more complex inspiration in the emotion that stemmed from participation in Black Lives Matter protests and the 2020 Beirut Port explosion, which rocked all of his extended family members in Lebanon.

Melancholy Sabotage explores the theme of sabotaging melancholy. Echoing sounds from the post-punk, trip-hop, and ambient genres, it is about sabotaging the cycle of melancholy and looking at this process without ignoring the sources that put it into motion. It may be compared to a rattling breaking free from retention, reaching states of dreamy euphoria while simultaneously acknowledging the sources of retention, viewed from above. The sources can be personal, political, or socio-economic. They are to be apprehended post-melancholy, after the sabotaging of the initial cycle of melancholy. In other words, it is about transcending melancholy and understanding where it came from with some distance. It may be beautiful and healthy to feel for a while, but how may one sabotage this cycle when it becomes paralyzing? Ultimately, this album is about feeling melancholy but also resisting it and naming the sources that initiated it.

"Time To Hold Better" points to neglect on both personal and group levels. "This Time Last Year" is a personal time capsule. "We Keep Us Safe" is about solidarity, autonomy, and care witnessed within protest groups. "Melancholy Sabotage" is a sonic exploration of the album concept illustrating anger and sadness, but finally, resistance and liberation from these feelings. "Measures" is a more fluid exploration of the latter after the initial storm has passed. "We Don't Owe" points to bigger bodies inflicting harm on populations that we owe nothing to. "Breaking Points" harkens the times that we may lose focus while pushing to transcend melancholy. "Eviction" is about being pushed out of a space unwillingly while simultaneously being forced to move forward.

Melancholy Sabotage pulls from a range of genres, uniting electronic sounds under the same post-punky glow. It pulls from complex, heavy themes including damage and injustice, presenting Solpara's most moving body of work to date. It highlights the poignance that has always been at the heart of his fluid sound, which caters to dancefloors and avant-garde spaces in equal measure. Working with a mix of dissonant guitars, distorted drum machines, and distant, reverb-washed vocals, Melancholy Sabotage is Solpara's uneasiest outing to date. The record pinpoints the duality at the heart of Solpara's sound, which is as plaintive as it is searing.

Stag-O-Lee präsentiert hier Teil 7 der äusserst erfolgreichen Trashcan Records Serie, die sich obskuren und vergessenen Vinyl Schätzen aus den 50er und frühen 60er Jahren widmet. Die originalen 45er stammen aus der stattlichen Sammlung von Fedor, einem Sammler und Jäger aus Amsterdam, der sich in den letzten 25 Jahren durch tausende von Kisten mit Gebrauchtvinyl auf Flohmärkten der holländischen Metropole wühlte. Diese Veröffentlichung ist wie gewohnt thematisch gegliedert. Seite 1 ist "Wacky Weirdos" betitelt und durchaus ein Sammelsurium an obskursten Schrägheiten, die einem einerseits ein Lächeln ins Gesicht zaubern und andererseits die Frage aufwirft, was man alles ungestraft auf Kleinvinyl pressen durfte. Seite 2 ist mit "Moody Instros" genau das. Instrumentals zwischen Mod Jazz und Rhythm & Blues, vom Lo-Fi Spuk bis zu sanften Kriechern. Natürlich alles megarar und bis dato auf keiner der zahlreichen anderen Compilations zu finden.

Richard Ashcroft"s fourth solo album "These People" became a fan-favourite in 2016, receiving great reviews and becoming a #3 album in the Official UK Albums Chart. His reunion with Wil Malone, who had previously worked on the string arrangements for The Verve"s seminal albums "A Northern Soul" and "Urban Hymns" added depth and emotional resonance to the album"s sound. Ashcroft demonstrated his continued relevance and creative prowess as a solo artist, reaffirming his status as one of Britain"s most enduring and influential musicians. Released on his Righteous Phonographic Association label via Cooking Vinyl, and now available on vinyl again in a 2LP special edition Clear and Blue Marble Vinyl effect, housed in a Gatefold sleeve.

Reel People Music breaks new ground, in more ways than one, with the launch of fresh compilation series Broken, Deep & Dope. A spin-off from acclaimed compilation brand Soulful, Deep & Dope – introduced back in 2015 – this new series sees the much-loved independent imprint pushing further at the boundaries of soulful music. All with that customary Reel People feeling.

Broken, Deep & Dope 2024, the series’ first instalment, unleashes 20 superlative examples of the soulful ‘bruk’ (broken beat), nu beat and nu jazz sound that has so innovatively informed contemporary dancefloors around the world since its inception back in late Nineties West London.

Bringing together classic cuts from the Reel People Music stable (including those by Daz-I-Kue, Monkey Brothers and Reel People) and key productions from some of its closest affiliates and biggest inspirations (such as Vikter Duplaix, Jazzanova, Bugz In The Attic, Kaidi Tatham, and Sean McCabe), this white-hot selection nips and tucks beautifully between stuttered Latin and Afro rhythms, deep house-edged jams and soaring flights of soul-jazz fancy.

Reel People Music is a label borne out of the soulful success of acclaimed collective Reel People but representing so much more. Launched in late 2009, the imprint has built a fiercely loyal international fanbase through its passion for artist development, musicianship, song-craft and authentic soulful groove.

Broken, Deep & Dope 2024, with its scattered yet compulsive beats, frisky basslines and acrobatic melodies, promises to further expand Reel People Music’s reputation for soulful depth and drama. Gathering old and new favourites from some of the world’s finest taste-making DJs and producers, this is another scorching, oh-soul essential hustle. End of.

The Plastik People label is a great repository for deep house that is timeless but never tired. Katermurr is next up to prove that point with an EP that transcends the ages. It opens with a lovely throwback Chicago vocal over fresh modern drums. After 'Wanna Be With You' gets you going, 'Let's Dance' brings the party vibes with some busy lead melodies that will get hands in the air old school style. 'Donny' then keeps it deep with some languid grooves and a nice smoky soulful vocal drifting above. Last of all is the more bumping and dusty drums of 'Show Some Love' to close out a classic EP.

Rhythm N Vibe treats us to four different and equally brilliant garage cuts here from four different and equally brilliant artists. Marc Cotterell opens up with the slinky and dusty drums of '96 Is Back' powered by a rasping bassline. Jason Ward then brings some fresh 90s sounds with a neon baseline and diva vocals on 'The Meaning' while J Erazo keeps it deep and paired back on the sublime 'The Pulse' which is a real late night warmer. Paul French then layers up nice fresh and bumping drum funk on his lovely number 'Jump' (unreleased dub). There is lots to love here on a very useful EP.