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Quincy Jones

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Official / bargain price reissue of the soundtrack to this early 70s film. Features Roberta Flack and Little Richard. Comes in original sleeve artwork.

“One More Mission” is the Italo-disco answer to David Bowie’s “Space Oddity”, the tale of a lonely space explorer lost forever with no hope to return.

Originally released in 1987 and fitting neatly into the Afro / Cosmic movement popularised at that time by DJs such as Daniele Baldelli and Beppe Loda, thanks to it’s heavy downtempo beat, spaced out melody mixed with sound effects, classic rock and even oriental influences. The track is completed by one of the greatest vocals in Italo-disco; the mysterious Quinn Martin’s melancholy, heavily accented voice capturing perfectly the plight and of a space explorer trapped in another dimension.

Quinn Martin – “One More Mission” is in many ways a lost and overlooked Italo track, known to hardcore Italo fans and collectors but one with huge crossover potential and one that can fit into a variety of DJ sets.

On “Mars Orange” vinyl, including both tracks of 1987 vinyl offering different arrangements and completed by an edit from Mothball label boss Hysteric removing the more rock elements and bringing the track closer to new beat territory.

X-Kalay continues to bewilder and bedazzle with another label debut from Leipzig based artist Marvin Uhde aka Qnete. An accomplished, yet hugely underrated producer, Qnete's notable solo contributions have come on the respected Berlin label 777, Dresden's Uncanny Valley offshoot Shtum.

The four tracks showcased here skillfully blur the lines between vintage rave excavation and modern precision sound system music. There's a heady and loose vibe to each track, though the moods move between proggy, full on, baggy downbeat and techy breaks indiscriminately. Basically, over four tracks Qnete manages to encompass the very essence of the party; skillfully toying with genre and rhythm yet keeping true to the endorphin-rushing vibration of being surrounded by 1000 like minded ravers in a field in the middle of nowhere with nothing but a rig and generator for company. 


STAFF COMMENTS

Matt says: X-Kalay seem to be one of the freshest mutations of free party sprit on wax at the moment. This develish four tracker from Qnete takes us right back to the fields and motorway bridges whilst adding some modern, ear-catching flourishes. Top stuff indeed!

‘Atlantic Oscillations’ marks the return of world renowned British producer Quantic with his most cohesive and intricate album to date. Bringing together new players and concepts with a dance orientated sound that has enchanted fans and tastemakers across the world for nearly two decades, it showcases Will “Quantic” Holland’s artistry and rare ability to intertwine the electronic with the orchestral.

Embracing his own love of albums that travel, taking the listener on twists and turns, with the loss of the album narrative that has occurred in this day of streaming, Holland utilises the space created to explore more creativity as a producer. As he admits, “on the whole, the common theme on this record is that it is probably more intricate and arranged than previous records. I spent three times as long as any other Quantic record and spent a lot of time in the detail”. This meticulous attitude is apparent throughout; each track has been crafted to draw the listener’s attention, with elements of both musical originality and a sense of modernity.


The Sir Joe Quarterman And The Free Soul album was originally released on the GSF label in 1973. It is a funk / rare groove masterpiece, one of the best ever of its genre, containing many great tracks with social commentary lyrics, fat bass lines, soaring horns and relentlessly funky beats. Also included in this Connoisseurs edition are the three non-album tracks that Joe recorded for GSF at the time, including the much sampled "I'm Gonna Get You" and "Thanks Dad".

Initial quantities include a free CD bonus disc: 'Quasi covers EP'.

Now in their 20th year as a band, two-piece Quasi return with a veritable Quasi songbook featuring 24 shinning examples of shakin’ blues, percussion freak-outs, chiming minor seventh chords and rock & roll.

This 1978 LP is the only recorded output of Quazar, the follow up project of Parliament members Glenn Goins and Jerome 'Big Foot' Brailey. Very much in the P-funk style of crazed vocals, bubbling bass and supa-funky breaks, the album is a must for Parliament-Funkadelic collectors (originals go fo a tidy sum). Sadly Goins died before the album was completed, leaving his brother Kevin to finish the job using the vocals Glenn had laid down.

FORMAT INFORMATION

LP Info: US import reissue with original sleeve artwork.

Que Sakamoto + NT

Lalo - Inc. JP & Vulinej / Magic Touch Remixes

The latest installment of Roam Recordings comes from the Japanese disco scene via the production duo of internationally acclaimed DJ Que Sakamoto and seasoned studio engineer NT. The title track "Lalo" is an original production with a stylish edit of an obscure vocal. This slow paced groove has a lot to offer with its bells chiming, synths drifting, and peppered in vocal that brings it all together. The first remix comes from JP & Vulinej the partnership between JP Soul (boss of Roam Recordings) and Jeniluv (a prominent figure in the LA dance scene and partner in Roam Recordings). Having heard Que Sakamoto+NT’s excellent single, Vulinej fell for the song and brought it to JP Soul at Roam Studios. Together they came up with a filthier heavy hitting acid bender.  The second remix comes from Magic Touch who has made a name for himself for his critically acclaimed releases on 100% Silk and Tensnake’s label True Romance as well as his performances at places such as Sonar, Unsound, and the legendary Panorama Bar. His remix of "Lalo" perfectly rounds out the EP in an entirely new direction with elements of atmospheric electro combined with a consistent heady dance beat.


Queen

A Day At The Races

    "In every sense, A Day at the Races is an unapologetic sequel to A Night at the Opera, the 1975 breakthrough that established Queen as rock & roll royalty. The band never attempts to hide that the record is a sequel -- the two albums boast the same variation on the same cover art, the titles are both taken from old Marx Brothers films and serve as counterpoints to each other. But even though the two albums look the same, they don't quite sound the same, A Day at the Races is a bit tighter than its predecessor, yet tighter doesn't necessarily mean better for a band as extravagant as Queen. One of the great things about A Night at the Opera is that the lingering elements of early Queen -- the pastoral folk of "39," the metallic menace of "Death on Two Legs" -- dovetailed with an indulgence of camp and a truly, well, operatic scale. Here, the eccentricities are trimmed back somewhat -- they still bubble up on "The Millionaire Waltz," an example of the music hall pop that dominated Night, the pro-Native American saga "White Man" is undercut somewhat by the cowboys 'n' indians rhythms -- in favor of a driving, purposeful hard rock that still could have some slyly hidden perversities (or in the case of the opening "Tie Your Mother Down," some not-so-hidden perversity) but this is exquisitely detailed hard rock, dense with minutiae but never lush or fussy. In a sense, it could even function as the bridge between Sheer Heart Attack and Night at the Opera -- it's every bit as hard as the former and nearly as florid as the latter -- but its sleek, streamlined finish is the biggest indication that Queen has entered a new phase, where they're globe-conquering titans instead of underdogs on the make." - Allmusic.


    Queen

    A Night At The Opera

      "Queen were straining at the boundaries of hard rock and heavy metal on Sheer Heart Attack, but they broke down all the barricades on A Night at the Opera, a self-consciously ridiculous and overblown hard rock masterpiece. Using the multi-layered guitars of its predecessor as a foundation, A Night at the Opera encompasses metal ("Death on Two Legs," "Sweet Lady"), pop (the lovely, shimmering "You're My Best Friend"), campy British music hall ("Lazing on a Sunday Afternoon," "Seaside Rendezvous"), and mystical prog rock ("'39," "The Prophet's Song"), eventually bringing it all together on the pseudo-operatic "Bohemian Rhapsody." In short, it's a lot like Queen's own version of Led Zeppelin IV, but where Zep find dark menace in bombast, Queen celebrate their own pomposity. No one in the band takes anything too seriously, otherwise the arrangements wouldn't be as ludicrously exaggerated as they are. But the appeal -- and the influence -- of A Night at the Opera is in its detailed, meticulous productions. It's prog rock with a sense of humor as well as dynamics, and Queen never bettered their approach anywhere else." Allmusic.

      Queen

      Greatest Hits

        The first Greatest Hits album by the legendary Queen. Originally released in 1981, this compilation album contains all of Queens best selling singles since their first chart appearance in 1974.

        Queen

        News Of The World

          "If Day at the Races was a sleek, streamlined album, its 1977 successor, News of the World, was its polar opposite, an explosion of styles that didn't seem to hold to any particular center. It's front-loaded with two of Queen's biggest anthems -- the stomping, stadium-filling chant "We Will Rock You" and its triumphant companion, "We Are the Champions" -- which are quickly followed by the ferocious "Sheer Heart Attack," a frenzied rocker that hits harder than anything on the album that shares its name (a remarkable achievement in itself). Three songs, three quick shifts in mood, but that's hardly the end of it. As the News rolls on, you're treated to the arch, campy crooning of "My Melancholy Blues," a shticky blues shuffle in "Sleeping on the Sidewalk," and breezy Latin rhythms on "Who Needs You." Then there's the neo-disco of "Fight from the Inside," which is eclipsed by the mechanical funk of "Get Down, Make Love," a dirty grind that's stripped of sensuality. That cold streak on "Get Down, Make Love" runs through the album as a whole. Despite the explosion of sounds and rhythms, this album doesn't add up to party thanks to that slightly distancing chilly vibe that hangs over the album. Nevertheless, many of these songs work well on their own as entities, so there is plenty to savor here, especially from Brian May. Whether he's doing the strangely subdued eccentric English pop "All Dead, All Dead" or especially the majestic yet nimble rocker "It's Late," he turns in work that gives this album some lightness, which it needs. And that's the reason News of the World was a monster hit despite its coldness -- when it works, it's massive, earth-shaking rock & roll, the sound of a band beginning to revel in its superstardom." - Allmusic.

          Queens Of The Stone Age

          ...Like Clockwork

            Queens Of The Stone Age announce their sixth studio album, ‘...Like Clockwork’, on Matador Records. The band have also unveiled the new album’s stunning artwork by UK artist Boneface.

            Described by Queens principal Joshua Homme as “an audio documentary of a manic year,” ‘...Like Clockwork’ is the band’s first full length collection of all new material since 2007’s ‘Era Vulgaris’, as well as the band’s debut release on new label partner Matador.

            ‘...Like Clockwork’ was produced by Joshua Homme and QOTSA, and recorded by Mark Rankin with additional engineering by Justin Smith, at Josh’s Pink Duck studio in Burbank, California.

            Queens Of The Stone Age

            Era Vulgaris

            "Era Vulgaris" sees Queens Of The Stone Age return to their deepest, darkest roots, with shadowy riffs reminiscent of the desert sounds of the Kyuss days combined with multi layered industrial power guitar and organ blasts of a new era. It was produced by long time Queens production cohort Chris Goss and Josh Homme himself at their hideaway in the dunes of Joshua Tree. Julian Casablancas from The Strokes and Mark Lanegan appear as guests on various tracks.

            Queens Of The Stone Age

            Era Vulgaris - Vinyl Reissue

              2007's Era Vulgaris finds QOTSA touching on a variety of styles, incorporating electronic and acoustic textures alongside the band's trademark heavy rock crunch. The album includes such fan favorites as "Sick, Sick, Sick," "3's & 7's" and "Make It Wit Chu," with guest appearances by Julian Casablancas of The Strokes and frequent QOTSA collaborator Mark Lanegan.

              The previous LP edition was on 3x 10” LPs, this LP edition marks the first-ever release of Era Vulgaris on 12" vinyl.

              Queens Of The Stone Age

              Lullabies To Paralyze - Vinyl Reissue

                Queens of the Stone Age's 2005 release Lullabies to Paralyze debuted at No. 5 on the Billboard album charts. Along with the hits "Little Sister" and "Burn the Witch," Lullabies to Paralyze features guest appearances by Jack Black, ZZ Top's Billy Gibbons, Shirley Manson of Garbage and Jesse Hughes of the Eagles of Death Metal.

                The new vinyl release of Lullabies to Paralyze features a gatefold jacket with the album's original album art in the U.S. for the first time, and includes the original three vinyl bonus tracks: "Infinity," "Like A Drug" and "Precious And Grace."

                Queens Of The Stone Age

                Rated R - Vinyl Reissue

                  In 2000, Queens of the Stone Age achieved a creative and commercial breakthrough with their major-label debut Rated R, featuring the breakout tracks "The Lost Art of Keeping A Secret" and "Feel Good Hit of the Summer."

                  This new LP edition marks Rated R's first U.S. vinyl pressing, and is the first vinyl edition worldwide to feature the album's original blue artwork. This LP augments the original album with the international bonus track “Ode To Clarissa," as well as a unique 12"x24" insert.



                  Queens Of The Stone Age

                  Songs For The Deaf - Vinyl Reissue

                    2002's Songs For The Deaf became QOTSA's first Gold album in the U.S. and their first platinum seller in Britain and Canada, spawning the hits "No One Knows," "Go with the Flow" and "First It Giveth." The musical cast includes guest drummer Dave Grohl, who put his own band Foo Fighters on temporary hold to record and tour with Queens of the Stone Age.

                    Songs For The Deaf's new vinyl edition is a two-LP set with a gatefold jacket and a 12"x12" insert, with the album's original red background and black graphics/text art making its first-ever LP appearance. 

                    “The title Villains isn’t a political statement. It has nothing to do with Trump or any of that shit. It’s simply 1) a word that looks fantastic and 2) a comment on the three versions of every scenario: yours, mine and what actually happened… Everyone needs someone or something to rail against—their villain—same as it ever was. You can’t control that. The only thing you can really control is when you let go."—Joshua Homme

                    Hundreds of epic shows, memory lapses, unexplained injuries, one yearlong detour with Iggy Pop and multiple Grammy nominations later, Queens Of The Stone Age re-emerge from the desert newly scarred and somehow strangely prettier with lucky seventh album, Villains.

                    Produced by Mark Ronson and co-produced by Mark Rankin and mixed by Alan Moulder, Villains is the first full album offering from Queens Of The Stone Age since 2013’s …Like Clockwork gave the band its first #1 album in the U.S. Like the stunning artwork of returning illustrator Boneface, the sonic signatures of the line-up that took …Like Clockwork around the world and back are as unmistakable as ever, though coexisting with sufficient new twists to induce recurring double takes. As Homme himself puts it, “The most important aspect of making this record was redefining our sound, asking and answering the question 'what do we sound like now?' If you can’t make a great first record, you should just stop—but if you can make a great record but you keep making records and your sound doesn’t evolve, you become a parody of that original sound."

                    Of his role working within such a closed and confident ecosystem as Queens Of The Stone Age, Ronson says, "Queens are and have always been my favourite rock n roll band ever since I walked into Tower on Sunset and bought Rated R in the summer of 2000, so it was incredibly surreal to be welcomed into their secret, pirate clan—or the ‘jacuzzi’ as Josh likes to call it. There were moments during the making of the album in which I was aware I was watching my musical heroes craft something that was sure to become one of my moments on any Queens album. And to have some part in that felt like being in a dream--a very heavy, dark, wonderful dream.”

                    Long-time Queens cohort co-producer Mark Rankin added, "After the baptism of fire that was …Like Clockwork, I was excited to get into the studio again with the challenge of pushing the sound for this record, especially with the addition of Ronson into the creative mix… What we’ve made is forward looking yet unmistakably Queens."

                    STAFF COMMENTS

                    Darryl says: ‘Villains’ finds the QOTSA boys in fine rockin’ form. Heavy sonic riffage with an added groove appeal too, no doubt courtesy of Mark Ronson in the producer’s chair.

                    FORMAT INFORMATION

                    2xIndies Exclusive LP Info: Independent store exclusive – different sleeve artwork.

                    Debut Album from New York's Scott Mou.

                    Sounding more like an album Kranky would release than what you might expect to hear on Dial, will appeal to fans of Jandek, Durutti Column, Panda Bear...

                    Scott Mou, known as one half of the duo Jane – the folk techno drone duo he had with Panda Bear – as well as part of Manhattan's famous record store Other Music, debuts with his solo project Queens.

                    Johan Jacobsen describes the wonderful music of Queens "in oxymorons; "colorful monochrome," "myopic depth," "sad joy," "driven slowness," "enlightened darkness," "universal intimacy ' , "ethereal earthboundness" ... As it should be. Queens is one of those wonderful artists who are hard to catch on the fly, who escapes easy definition. His music is an unexpected and unimagined universe ready to be explored, and it’s a universe that is wonderful to be in."

                    (When Dial Records' David Lieske and Peter Kersten listened to a performance of their New York based friend in 2009, it was one of those unforgettable unique experiences you only have once in a long while these days. The idea of releasing an album was born. The production of "End Times" involved other labelmates such as Phillip Sollmann aka Efdemin (recording), Kassian Troyer (mixing) and Hendrik Weber, who once joined a life performance on stage with Scott Mou in 2012.

                    Queen

                    The Game

                      "Queen had long been one of the biggest bands in the world by 1980's The Game, but this album was the first time they made a glossy, unabashed pop album, one that was designed to sound exactly like its time. They might be posed in leather jackets on the cover, but they hardly sound tough or menacing -- they rarely rock, at least not in the gonzo fashion that's long been their trademark. Gone are the bombastic orchestras of guitars and with them the charging, relentless rhythms that kept Queen grounded even at their grandest moments. Now, when they rock, they'll haul out a clever rockabilly pastiche, as they do on the tremendous "Crazy Little Thing Called Love," a sly revival of old-time rock & roll that never sounds moldy, thanks in large part to Freddie Mercury's panache. But even that is an exception to the rule on The Game. Usually, when they want to rock here, they wind up sounding like Boston, as they do on John Deacon's "Need Your Loving Tonight," or they sound a bit like a new wave-conscious rocker like Billy Squier, as they do on the propulsive "Coming Soon." But even those are exceptions to the overall rule on The Game, since most of the album is devoted to disco-rock blends -- best heard on the globe-conquering "Another One Bites the Dust," but also present in the unintentionally kitschy positivity anthem "Don't Try Suicide" -- and the majestic power ballads that became their calling card in the '80s, as they reworked the surging "Save Me" and the elegant "Play the Game" numerous times, often with lesser results. So, The Game winds up as a mixed bag, as many Queen albums often do, but again the striking difference with this album is that it finds Queen turning decidedly, decisively pop, and it's a grand, state-of-the-art circa 1980 pop album that still stands as one of the band's most enjoyable records. But the very fact that it does showcase a band that's turned away from rock and toward pop means that for some Queen fans, it marks the end of the road, and despite the album's charms, it's easy to see why." - Allmusic.

                      Queen

                      The Works

                        "Following the disappointing commercial performance of the dance-oriented Hot Space in 1982, Queen took 1983 off to get refocused and work on a follow-up that would put the band back on track. While the songwriting had definitely improved on the resulting The Works in 1984, the album sonically lacked the punch of such earlier releases as News of the World and The Game (strangely, Hot Space even had a better overall sound). Although the album only peaked at number 23 on the U.S. album charts, it was a Top Ten hit in just about every other area of the world, producing the huge single "Radio Ga Ga." Three other tracks were hits in Queen's native England -- the uplifting "I Want to Break Free," the love song "It's a Hard Life," and the politically conscious rocker "Hammer to Fall," which dealt with the danger of nuclear weapons. Other highlights included the '50s-sounding "Man on the Prowl," the electronic experiment "Machines," the thunderous "Tear It Up," and a touching acoustic ballad, "Is This the World We Created...?"" - Allmusic.

                        The Queers return to Lookout! 'Today' is produced by Ben Weasel (Screeching Weasel) and features 5 blasts of patent Queers punk rock and pop.

                        ? And The Mysterians

                        The Best Of - Cameo Parkway

                        Finally, a proper legit "Best Of" covering their prime period!! 27 nuggets of rockin', soul-driven garage ravers! Includes two previously unreleased tracks from 1996. And yes, it does include the awesome "96 Tears" before you ask!!!

                        Quickbeam are an atmospheric/cinematic band based in Glasgow, Scotland. Originally formed in 2010 by Monika Gromek and Andrew Thomson, the band has since grown in numbers to a four piece. After releasing their first single ‘Seven Hundred Birds’ to widespread critical acclaim in April 2012, the band now look forward to further collaboration with Scottish label Comets and Cartwheels on the release of their Creative Scotland funded debut album in June 2013.

                        The resulting collection of songs reveals more of what Quickbeam have to offer in the studio, and saw them find a well-suited collaborator in Scottish producer Stuart MacLeod. Part sparse minimalism and part luscious extravagance, the record is a confident showcase of the members’ growing maturity as songwriters. Consistently underpinned by orchestrally arranged strings, brass, and rich harmonium pitted against thunderously distorted guitar passages and pounding rhythms, the album’s overall feel is one that calls to mind grand themes such as the passage of time. Throughout the record, female led vocals are complemented by warm harmonies and subtle atmospherics which lend the music a rather captivating and often melancholic beauty.

                        Quiet Slang (Beach Slang)

                        Everything Matters But No One Is Listening

                          Since Beach Slang came into being, bandleader James Alex has taken to performing his group's heartfelt anthems as more intimate solo renditions. Appropriately dubbed "Quiet Slang," these alternate reality versions of Beach Slang's music have now simultaneously been stripped down and fleshed out in the studio to include piano and cello. Following on from the recent We Were Babies & We Were Dirtbags EP, Quiet Slang now bring you a full album of such songs - 'Everything Matters But No One Is Listening' .




                          FORMAT INFORMATION

                          Coloured LP Info: Indies exclusive coloured vinyl.

                          An amorphous musical collective put together by Rich Machin and Duke Garwood, with a rolling cast of players assembled from the likes of Soulsavers, Spiritualized, Stereolab and Julian Cope. For Machin, Garwood and the other musicians (Ray Dickaty, Tim Lewis (aka Thighpaulsandra), Pete Marsh, Paul May Doggen), a sense of adventure and devil-may-care inventiveness took precedence over precise design when they started the recording process at Gabriel’s Real World studio in the autumn of 2017.

                          'One of the big things I wanted to achieve with this record was breaking away from things being super planned out,' Machin explains. 'To actually just go into a studio without having everything mapped out in advance. And being comfortable enough to see what happens. It was incredibly stressful at first, but once you realize it works it’s actually a really nice way to work.'


                          STAFF COMMENTS

                          Barry says: Like a slo-mo distillation of Joe Henderson and Alice Coltrane, the quiet temple serve up a trundling jazzy bouquet brimming with languid psychedelic flourishes, slowly growing into a bloom otherworldly drone. Properly hypnotic and brilliantly emotive.

                          Quiet Village

                          Silent Movie

                            After three sought-after singles for the Whatever We Want label - plus remixes for the likes of Gorillaz, Fran Ois K, Mudd, Toby Tobias, James Yorkston, Grandada Bob, Black Devil and Cosmo Vitelli - Quiet Village step out of the shadows to present their much-anticipated debut album, 'Silent Movie'. Comprised of master crate-digger Joel Martin and rising dance-music star Matt Edwards (a man of many monikers including Radio Slave & Rekid), and borrowing their name from Martin Denny's exotica masterpiece, Quiet Village make the old sound new (and vice versa). Influenced by Italian film soundtracks, library music, disco edits, acid rock and vintage soul, they mix the unlikeliest elements - bluesy guitar, chamber strings, air-raid sirens, shuffling breakbeats, even flutes and seagull cries - into an hour-long, beautiful reverie. Often cinematic in feel - their sound is unique and will wash over you in a refreshing embrace. This reissue is pressed on orange vinyl exclusively for Record Store Day.

                            STAFF COMMENTS

                            Sil says: Joel Martin and Radio Slave produced this beautiful piece of music which is actually a collage of great samples. I say what is wrong with that when the result is as amazing as this. You do not have it? Get it now. Freshly repressed just for you!

                            Quilsk

                            Artificial Imaginations

                              New Words is proud to present: Artificial Imaginations, the debut album by synthesist and composer, Quilsk.

                              Venture through environmental constructs, this music stimulates the listeners imagination and catalyses synaptic transmissions.



                              STAFF COMMENTS

                              Emily says: A deep new offering from Bristol based label New Words. Ambient textures formed via a loose-knit network of rippling synths, dusty samples and spacious beats.

                              Plaza is the third album by Quilt; a name implying a meeting place, a crossroads, a coming together. In the space of ten songs, Plaza clarifies Quilt’s musical stance of a congregation, mixing folk, pop-psych, and wanderlust into a common ground where each form takes on the characteristics of one another to create something wholly satisfying, styles and sentiments hand in hand, the purest and sharpest distillation of Quilt’s group aesthetic to date.

                              On Plaza, Quilt has pivoted their sound on a new foothold. The guitars shimmer, squawk, warble, swell, and tense up. The organs and synths flow in the background as mood-enhancers. The drums dig in a little deeper. We hear flutes and harps, a string quartet, grand pianos and Casios, feedback and distorted violas. Among all these sounds the group’s shared and solo vocals showcase some of the strongest lyrics and hooks the band has made to date.

                              Plaza showcases a tighter, more concise version of Quilt, particularly as the members have learned to encourage each other’s strengths and allow each other to confidently exist as distinct voices cooperating within a very intimate creative space; their songcraft has tightened up, their singing now crystal clear, vis á vis personal experiences of loss, frustration and isolation.

                              Frances Quinlan

                              Likewise

                                “We should try again to talk,” Frances Quinlan writes. It not just a lyric—it’s a suggestion, a warning, a plea, a wish. This request is woven throughout Likewise, her forthcoming solo album, amidst dramatically shifting motifs. Some are jubilant, some are dreamy and abstract, and a few are sinister, but within each dark void that Quinlan explores, there is a light peering back at her.

                                Frances Quinlan has built an identity for herself over the past decade as the lead songwriter and front-woman of the Philadelphia-based band Hop Along, and her distinct voice is among the most recognizable and inimitable in music. While the band began as Quinlan's solo project (originally titled Hop Along, Queen Ansleis), Likewise (out January 31st on Saddle Creek) is Quinlan's debut under her own name. To make the record, she enlisted the virtuosic skills of her bandmate Joe Reinhart, and together they produced the album at his studio, The Headroom, recording in stints over the course of a year.

                                With a renewed openness to explore different sounds, Quinlan supplements her typical guitar-based instrumentation with synthesizers, digital beats, harps, strings, and a wide variety of keyboards. The shifting and exploratory nature of these musical arrangements allow her lyrics and vocals—which have always been at the forefront of her music—to reach emotional depths like never before. Her vocal tones beckon a kaleidoscopic range of emotions across all nine songs on the album, from soft and ruminative to enraged and commanding; from conveying powerful messages to highlighting small, yet poignant, moments.

                                Quinlan is a voyaging songwriter. Throughout Likewise, she confronts what confounds her in the hopes that she will come out on the other side with a better sense of what it is to be human. She presents listeners with a complicated, albeit spirited vision of what it could mean to truly engage with another person, to give a small piece of oneself over to someone else without expectation. Although such is likely to be a lifelong effort, these songs prove evident that light can still permeate from unsettling depths.

                                'Honky Tonk Medusa' is Donovan Quinn’s first album that he’s both recorded and produced since the Skygreen Leopards’ adventurous 'Life & Love in Sparrow’s Meadow'. Along with Quinn’s work on vocals, guitar and synth, the album also employs San Francisco musician’s Jason Quever (Papercuts), Michael Tapscott (Odawas), along with his regular rhythm section of Nick Marcantonio and Michael Carreira. Working in reverse order to many current acts, the sound of 'Honky Tonk Medusa' is molded to each individual song; letting the lyrics and spirit of the song dictate the instrumentation and style with the lyrical narrative tying it all together.

                                The story of the album is one of decaying American cities, Internet age entropy, and equal parts romance and loneliness. In addition to the music the album features artwork by San Francisco artist Joe Roberts and liner notes by Elisa Ambrogio (Magik Markers, 200 Years) & Ben Chasney (Six Organs of Admittance).


                                Quirke

                                QUIRKE001 - 12" + Cassette

                                  Following his 2014 'Acid Beth EP' on Young Turks, Josh Quirke drops a new 12" white label on his own Quirke label. The 12" comes with a bonus cassette. We've got THREE copies - fastest finger first, folks!

                                  Hardcore, glitch, rave tropes, jungle & noize and ambient all coalesce as a pungent puddle of plasma here for the permo-hyped Whities label. Artist going by the name of Quirke who drops a well designed structure utilizing pneumatic pistons and tearing abrasions juxtaposed with heart strained pianos and electronic melancholy. A nicely realized album of post-dance music chaos that should appeal to fans of Death Of Rave, HATE Soundsystem, La Beaute Du Negatif and such like. Recommended.

                                  Hell Yeah’s extend the summer past Spetember with "Passages", a brand new and fantastic album from Quiroga that shows off his unique take on the Neapolitan sound. It is a soothing mix of real musicianship, laid back funk, soul and jazz stylings that wash over you, fill your heart with warmth and take you to a faraway beach where all your worries melt into the ether.

                                  It is 11 years since Walter Del Vecchio’s last album on Cactus Island Recordings and since then he has put out a steady stream of sublime EPs on the likes of his own Really Swing as well as, of course, Hell Yeah. Label boss Marco calls him “a delicate musician” and it’s true that his deft sound is filled with beauty and detail.

                                  A lot of attention is currently on his native Naples scene, but Quiroga doesn’t fit with the usual narrative thanks to his left of centre take on the breezy Mediterranean sounds of the city. This new album features six brand new cuts as well as six of his favourites that have previously been put out Really Swing, and is a fantastic showcase of his sound, with two of the tracks already getting big support from Italian ensemble 291out.

                                  Gentle groove undulations and refrained vocal euphoria define opener Got Your Love, while fat bass twangs and nodding keys light up the jazzy-soul-funk fusion that is Martinica Feelings. Things get even more horizontal and romantic on The Zoist, with its steamy female coos and delicate keys, and North Hollywood Witches is a glorious bit of slow motion boogie with squelching bass and effervescing keys.

                                  Elsewhere there are the lazy tumbles of Non Dire Notte, which is awash with acid gurgles, while glistening dreamscapes like Citto Di Mare shuffle on lush live drums and new age melodies. There are hippie vibes on Luzhin Defence which evokes sun beams breaking through the clouds, then Chiaia Sunset will melt your heart with its diffuse keys and rippling rhythms and ambient closer Bava casts you adrift into the clouds.

                                  With many other gems along the way, this is a near perfect album that will temporarily rid you of whatever problems you may have.

                                  STAFF COMMENTS

                                  Patrick says: Another great release from Ferrara's Hell Yeah, who invite Neapolitan musician Quiroga to create a double LP of Balearic house brilliance. Breezy, melodic and ambient in parts, this LP ensures you can keep a little sunshine with you at all times.

                                  Tom Laroye and Yam Who? return to Glitterbox as Qwestlife with another soulful cut, for their latest musical offering, ‘Hit It Off’. Written by acclaimed soul artist Benny Latimore, and made famous by Millie Jackson in 1979, the track was translated for dance music world when sampled by Tom Trago. Fast forward to 2018 and their take on the 70’s classic features the unmistakable voice of Teni Tinks, a session vocalist to the stars, who featured on Glitterbox releases like The Shapeshifter’s ‘When Love Breaks Down’. Tinks brings true diva flair to the track, and with the joyful chorus and smooth production, Qwestlife once again demonstrate their ability to craft modern disco with traditional analogue techniques, creating glorious dance-floor vibes and honouring a truly classic track. Available on 7” vinyl for music connoisseurs everywhere, a track like this is destined to be heard on wax, with a Disco Soul Instrumental version also available exclusively on the vinyl release.

                                  STAFF COMMENTS

                                  Millie says: Disco anthem right here! This is a massive soulful-disco hit which Tinks has put her own stamp on, with an equally groovy instrumental side. Hit it offff!


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