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QASIM NAQVI

Beta (Love Record Stores Edition)

    Love Record Stores Edition available from 9am on Saturday June 20th.
    Limited to one per person.

    Pakistani-American avant-composer and drummer of the cult experimental acoustic trio Dawn of Midi, Qasim Naqvi releases his new record titled Beta on a limited edition clear vinyl for the first Love Record Stores Day on June 20.

    Meant as a sister release to last year’s acclaimed six-part modular synth suite Teenages, Beta is a series of experiments chronicling Naqvi’s understanding of writing for this type of instrument and the growth of the instrument itself.

    “Beta is a prequel to the story of Teenages. At the time I had the most basic elements of a modular synthesizer- one oscillator and a random voltage generator which is a module that releases sporadic currents through the system. Ironically, this component provided a lot of warmth and humanness to the music, a kind of fallibility. I fed simple melodic ideas and rhythmic patterns into this bare bones setup and observed the responses, while occasionally guiding the music in other directions. It was like a diagnostic test. At the time I felt that this music was underdeveloped but listening back, I think the Beta tracks add an interesting dimension to the entire Teenages arc.They’re the zygotes.” — Qasim Naqvi

    The B side of Beta is a live performance of the track 'Teenages', which was recorded at the first Erased Tapes x LCO: Purcell Session at the Southbank Centre, in London last February. “I had performed this work just a couple of times and this particular one was special. There were microphones up everywhere and you could hear the room bleeding into the sound of the synthesiser” says Qasim of the performance.

    If Teenages captured the sound of electronics living, breathing and mutating of their own accord, Beta rather describes the moment they came to life.

    Love Record Stores Day is an initiative from the #loverecordstores campaign, launched during lockdown to encourage music fans to shop online with their favourite record stores. Qasim Naqvi joins a wide range of artists and labels who have pledged to release exclusive, limited edition records including Caribou, Belle and Sebastian, Beach House, Robyn, New Order and many more.

    Qasim Naqvi

    Chronology (RSD21 EDITION)

      THIS IS A RECORD STORE DAY 2021 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY JULY 17TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

      IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 6PM ON THE SAME DAY (SATURDAY JULY 17TH).


      July 17 will see the much-treasured analog synthesizer suite Chronology by Pakistani-American composer and drummer of the cult trio Dawn of Midi, Qasim Naqvi, finally receiving a worldwide vinyl release on Record Store Day 2021. Originally conceived only digitally in 2016, Chronology was Qasimís first release of electronic music. Having been in the world of improvised and classical music up to this point, it seemed only fitting for Naqviís inaugural electronic music album to be made exclusively on a malfunctioning synthesizer ó an old Moog Model D. Leaving the abundant options of a computer behind. Transparent vinyl

      Qasim Naqvi

      Teenages

        Pakistani-American composer Qasim Naqvi will release his debut album for Erased Tapes on May 3rd. 'Teenages’ captures the sound of electronics living, breathing and mutating of their own accord – almost autonomously – with only subtle, sparing but perfectly-judged and masterful guidance.

        This album is one singular synergy between Qasim and his machine within a broader milieu of sound, also explored by contemporaries Sarah Davachi, Alessandro Cortini, Caterina Barbieri and also the forefather, Morton Subotnick. At points tonal, textural and rhythmic, over six evolving and growing audio organisms, the album flourishes upwards in stages, from initial micro-sonics to something bigger, brighter and anthemic.

        This is Naqvi’s first non-soundtrack release, having previously established himself as a renowned composer for dance, theatre, film and installation-based art, not to mention his role as drummer in lauded trio Dawn of Midi. According to Naqvi, “my past releases like ‘Chronology’, ‘Preamble’, ‘Fjoloy’ and ‘Film’ were made to accompany visual mediums. The music was always written to enhance another form. ‘Teenages’ is the first album with its own motivating force. It’s a live multi movement work that I recorded for myself.”

        With ‘Teenages’, Naqvi summoned all the material on an analog modular synthesizer – a voltage-controlled sound generating system comprised of multiple modules. Naqvi built this synth over the course of two years and amassed a collection of works for this album.

        “I’ve always been drawn to the power of un-amplified acoustic music. And for me modular synthesizers are a natural progression forward from the acoustic realm into the electric. It feels like an orchestra comprised of very unusual instruments, and their orchestration and vibrational properties lie in the patching and flow of voltages through a system.

        They’re also unstable and they rarely play the same thing twice in any exact way. It’s almost organic and human. It was really important for this album to capture that kind of uninterrupted behavior.”

        Capturing a live feeling without the aid of heavy studio production was an important component to this release: “Even though this is ‘electronic music,’ I didn’t want to rely heavily on a computer with an array of plugins, loops and samples, or exhaustive editing as part of the writing process. I wanted to treat this work like a live piece of music and have the natural behavior of the machine shine through and sound huge, like an orchestra of electrical signals.”

        Gently stuttering like a time lapse-video of a seed sprouting up from the earth, ‘Intermission’ sets the scene, before musical motifs begin to emerge on the dancing, bubbling bassline of ‘Mrs 2E’, which possesses a playful, infantile quality, like a newborn animal learning to walk after birth.

        More bouncy, skewed bottom-line squelch appears on the jittery, buzzing ‘Palace Workers’, which seems to evoke life in the form of amplified insect or bat noises, with a melody that eventually unfolds into something akin to a fractal rendition of ‘Oxygene’. By ‘No Tongue’ more traditionally identifiable musical signifiers begin to emerge, with a bright and melodic synth line evoking the new blooms of spring, whereas ‘Artilect’ takes a more ominous drone tone, insinuating the dark, potential threat of artificially augmented biological intelligence.

        Like a coming-of-age, the album culminates on title track ‘Teenages’ – a dynamic, technicolour symphony that was recorded in one take, with no overdubs or edits. In the year leading up to ‘Teenages’, Naqvi created a series of shorter works. These stepping-stones eventually became the first 5 tracks of the album and were part of a larger process, leading to the realization of the title track. “I wanted to show the stages of development that lead to the main act. All of these tracks share the same D.N.A., even though they seem distantly related.” Explains Naqvi.

        The pieces heard prior to ‘Teenages’ chronicle both Naqvi’s understanding of writing for this type of instrument and the growth of the instrument itself: “I started with just a few modules. And naturally things had to be layered and pieced together but as the synthesizer and its components grew over time, I was able to create broader and more complex strokes in the moment. And by the time I got to ‘Teenages’, it was possible to create a robust, large-scale piece spontaneously. This is very much an experiential album for me because it was borne out of my direct experience of learning the instrument. And as the synthesizer grew over time with more components, it matured. At times I felt like it was even rebelling against my instructions or surprising me with what felt like its own choices.

        When everything was finished and I was thinking about track titles, this idea of artificial intelligence came into my head; a machine that reacts to your impulses and is capable of giving you something different from what you ask, and even defying you. It felt like different stages of growth and adolescence, and that lead to the album title, ‘Teenages’.”

        Deeply rewarding on close listening, Naqvi has created an inspiring and synapsestimulating new masterwork, within the analogue/modular cannon.

        TRACK LISTING

        1. Intermission
        2. Mrs 2E
        3. Palace Workers
        4. No Tongue
        5. Artilect
        6. Teenages

        Q / Ruth 'Silky' Waters

        The Voice Of Q / Everybody Loves A Good Funk [The Reflex Revisions]

        For its first release on newly launched, fully licensed label DISCOLIDAYS, The Reflex tackles two underground disco cuts remixed from the original multitrack for the very first time.

        ‘The Voice of Q’ is a leftfield electro disco gem originally released in 1982 on Philly World records. Produced by the studio team behind the label, the track has become a cult classic but had never been remixed from the stems until now. The Reflex brings it up to date with the added discovery of a pre-vocoder vocal and a full rap vocal that were left unused in the tapes, highlighting the funk bass to the max while pushing the cosmic vibes envelope even further.

        ‘Everybody Loves A Good Funk’ is a rather obscure ghetto disco-funk produced by none other than John Davis (of the John Davis Orchestra fame) that was recorded at Sigma Sound studios in Philly in 1980 for the Midsong International label. Heavy synth bass, super punchy horns and a devastating groove make up for one hell of a dancefloor killer revision. Again remixed strictly from the tapes for the first time, The Reflex gives this Ruth “Silky” Waters track the shine it always deserved.

        With both tracks running at 118 bpm, this release will speak to a wide range of DJ’s and music lovers, from the disco-house contingent to early electro disco fans alike and beyond.

        This is the first vinyl release on DISCOLIDAYS (with digital to follow), a new label by remixer extraordinaire The Reflex, fully licensed from the copyrights holders, with more exciting releases to come.

        STAFF COMMENTS

        Millie says: New label alert! Discolidays bring us their first instalment from Q / Ruth 'Silky' Waters with an edit from The Reflex Revision, from the name you might be able to guess it's a whole lotta disco! Synth-y, disco, electro-funk this really has it all.

        TRACK LISTING

        A1. Q - The Voice Of Q [The Reflex Revision]
        B1. Ruth 'Silky' Waters - Everybody Loves A Good Funk [The Reflex Revision] 

        Q And Not U

        On Play Patterns

          First release from these emo / art rockers, since their "No Kill No Beep Beep" album in 2000. Two new tracks, produced by Ian Mackaye.

          Man oh man, Isle Of Jura know how to pick out a reissue! This time round it's the all time Italo classic, "The Voice Of Q", a leftfield electro disco gem that's rocked the spot for everyone from IF to Morgan Geist to Il Bosco etc. While it's been readily available in recent years as a standalone 12" or on the Dark Disco comp, it's worth noting that these releases are BOOTLEGS and sound DOGSHIT. Now, those heroes at Isle Of Jura have secured the official rights, sent the masters to Matt Colton for a necessary clean, and chucked in a previously unreleased Q killer for good measure.

          Back in 1982, Q picked up some interplanetary frequencies and laid down a gamechanger. "The Voice Of Q" delivers a discoid 4/4, spiced up with syncopated electro funk hats, a garbled sequence, slap bass, sci fi synth tones and killer vocoder work. The original mix introduces some peppy vocals for those who feel frisky, while the B-side keeps things stripped back for cybernetic dancefloor freaks. The previously unreleased "Keep It Strong" shifts gears a little, packing punchy piano licks over a shuffling garage groove to totally nail the proto house vibe. Warm, light and euphoric, this shoulder roller should sit perfectly next to "Casa Beat", "Free Yourself" and Soft House Company.


          STAFF COMMENTS

          Matt says: Back in stock and sounding better than ever. This supersedes all the other previous bootlegs. As timeless a slice of Italian greatness as one could possibly get. One of those every home (read: DJ) needs one records.

          TRACK LISTING

          A1. The Voice Of Q
          A2. Keep It Strong (Unreleased Dub Edit)
          B1. The Voice Of Q (Instrumental)

          Quakers

          II: The Next Wave

            "II: The Next Wave" is the long-awaited second album from hip-hop production supergroup Quakers.

            Featuring over 25 MCs on over 30 tracks across 2 LPs, it's a highly accomplished journey into the more concious and musical territories of rhyme and beat. It contains explosive, up-to-date commentaries on subjects such as American politics, Black identiy, gun laws, disproportionate wealth and global disengagement with minorities.

            There's a tense & abrasive mood to the entire album, as if a demoltion ram is about to smash through a brick wall. It's fiercly aligns itself with Run The Jewels & Clipping and is terrifyingly arresting with its urgent aggression.

            Featured MCs include Sampa the Great, Koreatown Oddity, Jonwayne, Guilty Simpson, Grandmilly, Jeremiah Jae, & more. 


            TRACK LISTING

            1. Electrify
            2. Start It Like This Ft Phat Kat
            3. One Of A Kind Ft Guilty Simpson
            4. Sell Your Soul
            5. Bare Essentials Ft The Niyat
            6. A Myth Ft Sageinfinite
            7. This Station Ft Jeremiah Jae
            8. Alive
            9. Heat On It Ft Grandmilly
            10. Double Jointed Ft The Koreatown Oddity
            11. Who Dat Ft Chester Watson
            12. Radiola Ft Radioactivists
            13. Gun Control Ft The Black Opera
            14. We Tried
            15. Duck & Cover Ft Guilty Simpson & Cysion
            16. Morphine Ft Bob Banner
            17. Approach With Caution Ft Sampa The Great
            18. The Streets
            19. Looking For Love Ft Denmark Vessey
            20. Fa Real Ft Jeru The Damaja
            21. A Quick Fix Ft Y2 & Super Vic
            22. Test My Patience Ft Jonwayne
            23. Too Many To Count
            24. Greatness Ft Nolan The Ninja
            25. Hit List Ft Cazeaux O.L.S.O
            26. Another Kind Of War Ft Jeremiah Jae
            27. Leaflet Drops
            28. One O’clock
            29. All Of It Ft Boog Brown
            30. Machine Room Ft Fat Ray
            31. Pain Ft SavKillz
            32. The Line Ft Cavalier
            33. Blocks Ft Dante Boom

            The Qualitons are one of the few internationally known and critically acclaimed bands Hungary has had to offer in recent years.

            They played at numerous festivals across Europe and the USA, performed a live session at legendary indie station KEXP and have released a total of four albums.
            Their last LP called “Kexek” is a beautiful and respectful tribute to the music of KEX, one of the most legendary, interesting, and tragic bands of Hungarian music history.

            Their avant-garde performances were ahead of their time (especially in communist Hungary) and resulted in brutal repression from the authorities. They could release only one official single before they were literally smashed by the police, to save his life, key figure Janos Baksa-Soos even had to flee the country.

            The concept of the “Kexek” album was simple: each member of The Qualitons picked one KEX song which they had full creative control over, they re-arranged, mixed them individually and then recorded the tracks together.

            What came out of this process is a unique, yet consistent mix of folk, psychedelic, and progressive funk-rock that gets more exciting with each listen.

            The LP is limited to 500 copies worldwide.


            STAFF COMMENTS

            Matt says: Incendiary in parts, deliciously funky and melodic in others, The Qualitons are a singular and rebellious force. A psych-rock, funk rampage; sung in Hungarian and containing some exquisite musicianship. If you dug Tinariwen, Goat & Koudede - this is for you!

            TRACK LISTING

            A1. Zold Sarga
            A2. Elszallt Egy Hajo A Szelben
            A3. Piros Madar
            B1. Csillagok Ne Ragyogjatok
            B2. Csalad

            Quantic & Denitia

            Nowhere

            World-renowned British producer, musician and DJ Will Holland aka Quantic launches his own record label Selva Records with the release of new 7" single ‘Nowhere’ with Denitia. The smouldering soul track features Will on guitars and keys, Joe Blaxx on drums and an intimate vocal from Denitia.

            "We wrote ‘Nowhere’ hot on the heels of ‘You Used to Love Me’. The song has a minimal approach, leaving a lot of space for emotion. I think Denitia and I both had a new confidence about working together and were excited about the new sounds we were building. This song has a very particular energy that I love." - Will Holland, Quantic

            TRACK LISTING

            A. Nowhere
            B. Nowhere (Instrumental)

            Quantic Presenta Flowering Inferno

            1000 Watts

              '1000 Watts' is the third album from the tropical reggae and dub-infused Quantic Presenta Flowering Inferno project. This outing sees musical explorer Will "Quantic" Holland making a more concerted foray into pure reggae-roots territory, although flashes of Holland's Colombian influences still shine through. A sun-drenched record, the LP is charged with atmosphere and a fitting tribute to dub music's evolution.

              Drawing together a set of classic style rhythms for the dancefloor, '1000 Watts' was recorded direct to tape, with all the band members in the same room; for this outing, Holland enlisted his most prestigious roll-call of guests yet. Alongside Jamaican toasting legend U-Roy and long-time collaborator Alice Russell, the featured artists include popular reggae singers Hollie Cook and Christopher Ellis. The late, great keyboard maestro Ikey Owens and legendary Jamaican drummer Santa Davis, known for his work with the likes of Bob Marley and The Aggravators.


              Quantic Presents The Western Transient

              A New Constellation

                Quantic Presents The Western Transient is the latest project from Will "Quantic" Holland, bringing together a handpicked band of some of his favourite American musicians to realise a set of new compositions paying homage to the rich, lively and intimate quality of the classic soul and jazz recordings. 

                The resulting album, 'A New Constellation', is out on Tru Thoughts; in characteristically mercurial fashion this new outing sees Holland following up the explosive, worldly electronic and vocal direction of his hugely acclaimed last solo album, 'Magnetica', with a suite of traditionally recorded pieces that capture the spontaneous beauty in the old ways of music making. His thirst for musical exploration has seen British born Holland release over 15 albums - ranging from electronic solo productions via the full live funk and soul bands the Quantic Soul Orchestra and the Combo Bárbaro to Latin, African and Caribbean styles - and become renowned as one of music's modern trailblazers. On moving to New York in early 2014, he started rediscovering his love affair with instrumental jazz and soul records in which the studio ensemble takes the spotlight. He has previously collaborated with Aloe Blacc, Alice Russel, Anita Tijoux and Sharon Jones. He decided to record a full length album paying homage to recording in this classic sense and also to collaborate with many of the musicians that he had worked with in the city of Los Angeles - these revered musicians included Brandon Coleman, Todd Simon, Sylvester Onyejiaka, Wilson Viveros and more.

                Quantic

                Atlantic Oscillations

                  ‘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.


                  TRACK LISTING

                  1. Divergence
                  2. Incendium
                  3. September Blues
                  4. You Used To Love Me (feat Denitia)
                  5. Atlantic Oscillations
                  6. Now Or Never (feat Alice Russell)
                  7. Orquidea (feat Sly5thAve)
                  8. Motivic Retrograde
                  9. Tierra Mama (feat Nidia Gongora)
                  10. La Reflexion
                  11. Is It Your Intention

                  Quantic

                  Magnetica

                    The sum of many musical adventures, Will “Quantic” Holland’s new album ‘Magnetica’ sees him revisiting his electronic roots, blending cutting-edge and distinctive production with elements of folk, reggae, soul, highlife, cumbia and more; demonstrating the rare quality and artistry that has enchanted fans and tastemakers across the world, over more than a decade of releasing music on Tru Thoughts.

                    ‘Magnetica’ is the first studio album from Quantic under his main solo moniker since ‘An Announcement To Answer’ in 2006, so anticipation is running high. He has, of course, been far from quiet in the intervening years, with releases from many acclaimed side-projects including The Quantic Soul Orchestra, Quantic and his Combo Bárbaro, Quantic & Alice Russell, Flowering Inferno and Ondatrópica, and a host of thrilling and high profile live shows to match.

                    Quantrells / Promise

                    Can't Let You Break My Heart / I'm Not Ready For Love

                      Quantrells’ only single release from 1972 goes for two to three hundred pounds if you can find a copy on the Chicago-based Yambo label. A deep soul smoocher with a glorious vocal with enormous brass stabs, it’s like a roughed up version of The Jackson 5. Backed with Promise’s ‘I’m Not Ready For Love’; one of two singles from the mid ‘70s by this all-girl teenage four piece on the New Directions label. Built with a driving bass and the girls’ gorgeous vocals dropping into party mode over a funky guitar break midway through, it’s a classic ice breaker. Copies go for around £100.

                      STAFF COMMENTS

                      Matt says: Deptford Northern Soul Club continue to attack the market value of this elite scene by repressing some of the most memorable and must-have records at an everyman's price. I've always championed such behaviour and I'll be honest, it was one of the things that always left a sour taste in my mouth about the Northern scene. It's nice to hear these tracks on vinyl without having to worry about auctioning off your liver.

                      TRACK LISTING

                      Quantrells - Can’t Let You Break My Heart
                      Promise - I’m Not Ready For Love

                      Quarter-Life Crisis

                      Quarter Life Crisis

                        The genesis of Ryan Hemsworth’s new project, Quarter-Life Crisis, can be traced all the way back to his childhood bedroom in Nova Scotia, where the producer spent the bulk of his high school years listening to emerging indie acts and playing guitar. Not loving the sound of his own voice and without a band, he eventually started making music on his laptop, which earned him accolades as he stepped out into electronic and club music scenes. His prolic output, paired with a voracious appetite for a wide range of genres and creation of his own label Secret Songs, has made Hemsworth a xture since he released his debut solo album, Guilt Trips, in 2013.

                        But now, Hemsworth’s trying his hand at something unexpected that is nonetheless close to his heart and origin story as a musician. Quarter-Life Crisis is a collaboration with various artists who’ve come to prominence over the past couple of years , many of whom got their start playing scrappy DIY shows. “This project has me in the process of going back to when I was a kid when I’d sit down and play guitar for hours and come up with melodies and chords by just messing around,” Hemsworth says. “It’s something I’ve been wanting to do for ages.”

                        The self-titled debut EP features contributions from Frances Quinlan (Hop Along), Meg Duy (Hand Habits), Charlie Martin (Hovvdy), Yohuna, and Claud. It showcases Hemsworth in a new phase of his career, one that is perhaps a bit less indebted to the nightclub dance oor. “It’s always been a goal to mix, like, 25% electronic sounds and 75% live indie rock sounds,” he says. Collaboration is paramount to Hemsworth’s process, and though he produced all of the instrumentation on the album, he left the lyrics and intention of the song up to the contributors. The resulting collection shapeshifts from track-to-track, taking on new personalities as it moves between. “I think of my music-making process as ‘sneaking in as a fan,’” Hemsworth says. “Quarter-Life Crisis is just another way for me to work with artists whose music I really enjoy and listen to all the time .”

                        Though Hemsworth has been a working musician for a decade now, Quarter-Life Crisis has felt like a wholly new experience. He recorded the tracks using live instruments, which he doesn’t typically do, and for many of his collaborators the shift to performing without a band, or even an instrument in their hands, was unfamiliar. For Quinlan, who sings on the arresting “Postcard from Spain,” this was one of the only times she’s made music with someone outside of her circles. “Recording with Ryan ended up being a really freeing experience to focus solely on vocal melody, to play with where I could take what was already there, already strong on its own,” she said.

                        Quinlan’s experience overlapped with that of the other contributors. Going into the studio almost as a session artist gave Duy the opportunity to alter their voice in a way they might not have considered with a Hand Habits song. “Meg asked me to make them sound like Travis Scott,” Hemsworth remembers, laughing. The hypnotic track, “Comfortable,” made Duy think about “AI and cyborgs” and “souls disassociating from bodies.” “I kind of just freestyled until a theme started to swim up,” they said. For Hovvdy’s Martin, this was his rst time ever writing lyrics to accompany another artist’s work. “It was really exciting to hear [Ryan] meet me in the middle style-wise. There are many hidden gems in the production of ‘Waterfall,’” Martin muses. “Lyrically the song explores a parallel I’ve been feeling lately: the diculty of understanding and being understood and how sometimes that struggle almost mirrors the state of the planet. It’s like a downward spiraling feedback loop where any optimism feels like a triumph.”

                        Working with musicians who largely fall into the category of “indie” gave Hemsworth the opportunity to revisit some of the artists who inspired him to become a musician in the rst place. He cites bands like the Cardigans, Grandaddy, Bright Eyes, and Sparklehorse as being foundational to his writing process this time around. Quarter-Life Crisis a sharp turn away from his last project, 2019’s CIRCUS CIRCUS, which he made alongside the Japanese rap duo Yurufuwa Gang, but for Hemsworth, working in a wide array of genres and modes keeps him on his toes, and ultimately, keeps his career interesting. “Getting out of my comfort zone and bringing others into that process has always led to something really unique,” Hemsworth says. “As a producer, I really respond to other people’s ideas and whatever they can bring to a song. Being in a room with someone with a dierent outlook, or working remotely with them, I hopefully help facilitate something that feels new and exciting for both of us.”


                        TRACK LISTING

                        1. Waterfall (feat. Charlie Martin Of Hovvdy)
                        2. Comfortable (feat. Hand Habits)
                        3. Postcard From Spain (feat. Frances Quinlan)
                        4. You & Me (feat. Claud)
                        5. Fatigue
                        6. Stars (feat. Yohuna)

                        Sir Joe Quarterman & Free Soul

                        Sir Joe Quarterman & Free Soul

                          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".

                          Quasi

                          Breaking The Balls Of History

                            Breaking the Balls of History is Quasi’s tenth record, landing ten years after their last record.

                            Sam Coomes and Janet Weiss have become Pacific Northwest icons, and Quasi has always felt so steadfast— their enduring friendship so generative, their energy infinite, each album more raucous and catchy and ferocious and funny than the last. But we were wrong to ever take Quasi for granted. For a while, they thought 2013’s intricate Mole City might be their last record. They’d go out on a great one and move on. Then in August 2019 a car smashed into Janet’s and broke both legs and her collarbone. Then a deadly virus collided with all of us, and no one knew when or if live music as we knew it—the touring, the communal crowds, the sonic church of the dark club—would ever happen again. And with the obliterated normal came an unexpected gift: uninterrupted time, hours every day, to make art. Quasi couldn’t go on the road, so they got an idea: they would act as if they were on tour and play together every single day. Each afternoon, Sam and Janet bunkered down in their tiny practice space and channeled the bewilderment and absurdity of this alien new world into songs. Janet’s strength returned and rose to athlete-level stamina The incredible result of those sessions is Breaking the Balls of History, recorded in five days and produced by John Goodmanson at the legendary Robert Lang Studios in Shoreline, WA. Here are two artists at their prime, each a human library of musical knowledge and experience, entirely distinctive in their songcraft and sound. In Quasi-form, the band becomes alchemically even greater than the sum of its parts: Janet’s galloping drums and Sam’s punk-symphonic Rocksichord and their intertwining vocals make something gigantic, anthemic. In the thick of a cataclysmic social and political moment, they’ve crafted exquisitely melodic songs that glitter with rage and wild humor and intelligence, driven by a big bruised pounding heart.

                            While it reflects the darkness of our time, Breaking the Balls of History surges with energy and pleasure and joy. “It felt so life-affirming. I can hear in the music how happy I am to be there and to be playing at that level again,” Janet said. “I get to exist.” Sam and Janet have lived through enough to understand that nothing is permanent, and that when your faith in humanity sinks, you turn to the life force of what you can rely on: the people you trust, the community that claims you, and what you can create. You can’t control the time. But you can make a record of a time. And luckily for us, Quasi has again.

                            TRACK LISTING

                            Last Long Laugh
                            Back In Your Tree
                            Queen Of Ears
                            Gravity
                            Shitty Is Pretty
                            Riots & Jokes
                            Breaking The Balls Of History
                            Doomscrollers
                            Inbetweenness
                            Nowheresville
                            Rotten Wrock
                            The Losers Win

                            Finley Quaye

                            Maverick A Strike - National Album Day 2022 Edition

                              Maverick a Strike is the debut studio album by Scottish musician Finley Quaye. Originally released on 6 August 1997. The album peaked at number three on the UK Albums Chart and spawned five singles: "Sunday Shining", "Even After All", "It's Great When We're Together", "Your Love Gets Sweeter", and "Ultra Stimulation“.

                              The album has been certified double platinum by the British Phonographic Industry.

                              Numbered sleeves, limited run of 2000.

                              TRACK LISTING

                              SIDE A 
                              1 Ultra Stimulation 
                              2 It's Great When We're Together 
                              3 Sunday Shining 
                              4 Even After All 
                              5 Ride On And Turn The People On 
                              6 The Way Of The Explosive 
                              7 Your Love Gets Sweeter
                              SIDE B
                              1 Supreme I Preme
                              2 Sweet And Loving Man
                              3 Red Rolled And Seen
                              4 Falling
                              5 I Need A Lover
                              6 Maverick A Strike

                              Quazar

                              Quazar

                                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.

                                Queen Of Jeans

                                Hiding In Place

                                  Hiding in Place, the new EP from Philadelphia’s Queen of Jeans, opens with the springy pluck of a single note on electric guitar, like a ping from a satellite waiting for a response in a long, quiet expanse. Then, Miri Devora’s voice atop guitar and drums: “Hiding in place, conjure your face/Don’t wanna lose my mind.”

                                  This is the title track’s invitation to a four-song study of loneliness, alienation, and the unraveling that comes with those states, but it’s also bookended with moments of levity: joy and romance burst through on second track “Why Hide,” a response of sorts to the title track’s cloistered anxiety. Devora wrote the songs at the start of the pandemic in March 2020 when she had just been laid off from her job of almost 10 years. Her partner, guitarist Mattie Glass, worked 11 hour shifts at a grocery store, so Devora was alone in their apartment for months on end. When they were written, these weren’t intended to be pandemic-specific.

                                  “While these aren’t ‘pandemic songs,’ they carry that weight,” says Devora. “There’s that sense of loneliness and even longing that I think for many have gone hand-in-hand with the pandemic. Hiding in Place is like hiding within these walls that we were confined to, but it’s also about hiding within yourself and not being able to necessarily express any kind of fears or desires you have.”

                                  This is part of what makes Hiding in Place such an apt collection for this moment: with this EP, which follows the band’s 2019 LP If you’re not afraid, I’m not afraid, hiding can be a safe release or a painful suppression, depending on the context. That duality—and the complicated nuance of lived experience that it suggests—defines our lives now.

                                  This 12” EP features Hiding in Place in Full as well as the entirety of Queen of Jeans’ 2021 Covers EP, including a bombastic cover of Wheatus’ now viral “Teenage Dirtbag.”

                                  TRACK LISTING

                                  Side A
                                  1. Hiding In Place
                                  2. Why Hide
                                  3. Was I Ever
                                  4. The Wait Is Over
                                  Side B
                                  1. Teenage Dirtbag
                                  2. I’m The Only One
                                  3. Actor Out Of Work

                                  The Queen's Head

                                  Your God Owes You Money

                                    Hot off the back of their self-titled debut single – the energetic five piece made up of Joel Douglas (vox/guitar), Tom Butler (vox/bass), Robbie Cottom (keys), Mike Hendry (guitar) + George Thompson (drum/percussion) follow it up with the provocatively titled ‘Your God Owes You Money.’

                                    For those unacquainted with the band’s brand of esoteric eclectic pop - The Queen's Head are a five piece from South London making alternative music about modern anxieties. Blending elements of post-punk, noise-rock, disco and modern dance music, wrapped in a familiar verse-chorus pop structure, the resulting sound is simultaneously enchanting and terrifying.

                                    Ordering this giddy chaos are the dual vocals of childhood friends Joel Douglas and Tom Butler. Together they combine cutting, spoken word narratives and growling melodies which take form as vigorous, traumatised calls to arms, scriptures not as much sung but bellowed and preached to the audience. It’s a sermon.

                                    ‘It did feel like that’ recounts Speedy co-runner Pierre Hall who put them on at one of Speedy’s ‘Homecoming’ nights at The Social at the end of lockdown. ‘From the second they came on to the second they finished – everyone was completely entranced. You were sucked in. It was powerful. Scary, intense, confrontational. But powerful nonetheless. I was hooked.’

                                    On the resulting track – a heady mix of post-punk influences crossed with everything from The Clash to The Specials via Daniel Avery and Charlie XCX, the band say: ’We are a band interested in world-building, with our process normally meticulous, pouring over tiny production and song-writing details. Taking 'Your God Owes You Money' into Dan Carey's space and method was a deliberate attempt to disrupt our complacencies. We played live, welcomed error and followed improvised ideas, under Dan's guiding hand. The version of this song we produced in just a day hopefully captures the rage and range of our live show - a direct glimpse into the band, what we believe and our frailties as self-confessed performers. An honour, a privilege and a wholly enjoyable day amidst Dan's Aladdin's cave.’ The genie is out of the lamp.

                                    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.

                                      TRACK LISTING

                                      1. Bohemian Rhapsody
                                      2. Another One Bites The Dust
                                      3. Killer Queen
                                      4. Fat Bottomed Girls
                                      5. Bicycle Race
                                      6. You're My Best Friend
                                      7. Don't Stop Me Now
                                      8. Save Me
                                      9. Crazy Little Thing Called Love
                                      10. Somebody To Love
                                      11. Now I'm Here
                                      12. Good Old-Fashioned Lover Boy
                                      13. Play The Game
                                      14. Flash
                                      15. Seven Seas Of Rhye
                                      16. We Will Rock You
                                      17. We Are The Champions

                                      Queen

                                      Jazz

                                        "Famously tagged as "fascist" in a Rolling Stone review printed at the time of its 1978 release, Jazz does indeed showcase a band that does thrive upon its power, thrilling upon the hold that it has on its audience. That confidence, that self-intoxication, was hinted at on News of the World but it takes full flower here, and that assurance acts as a cohesive device, turning this into one of Queen's sleekest albums. Like its patchwork predecessor, Jazz also dabbles in a bunch of different sounds -- that's a perennial problem with Queen, where the four songwriters were often pulling in different directions -- but it sounds bigger, heavier than News, thanks to the mountains of guitars Brian May has layered all over this record. If May has indulged himself, Freddie Mercury runs riot all over this album, infusing it with an absurdity that's hard to resist. This goofiness is apparent from the galloping overture "Mustapha," and things only get a lot sillier from that point out, as the group sings the praises of "Fat Bottomed Girls" and "Bicycle Races." May and Mercury have an unspoken competition on who can overdub the most onto a particular track, while Roger Taylor steers them toward their first disco song in the gloriously dumb "Fun It." But since over-the-top campiness has always been an attribute in Queen, this kind of grand-scale exaggeration gives Jazz a sense of ridiculousness that makes it more fun than many of their other albums." - Allmusic.

                                        Queens Of The Stone Age

                                        ...Like Clockwork - 2022 Reissue

                                          More than a quarter century since its primal emergence from the Desert, Queens Of The Stone Age has elected to give three of its landmark albums the upscale re-release treatment, including limited edition color vinyl pressings, exclusive new and restored artwork, and more.

                                          2013’s multiple-GRAMMY-nominated, Billboard 200 #1 charting magnum opus …Like Clockwork returns newly recut from its original master tapes with alternate artwork and obi-strip from Boneface with a limited opaque red vinyl pressing.

                                          TRACK LISTING

                                          Keep Your Eyes Peeled
                                          I Sat By The Ocean
                                          The Vampyre Of Time And Memory
                                          If I Had A Tail
                                          My God Is The Sun
                                          Kalopsia
                                          Fairweather Friends
                                          Smooth Sailing
                                          I Appear Missing
                                          ...Like Clockwork

                                          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

                                            Queens Of The Stone Age - 2022 Reissue

                                              More than a quarter century since its primal emergence from the Desert, Queens Of The Stone Age has elected to give three of its landmark albums the upscale re-release treatment, including limited edition color vinyl pressings, exclusive new and restored artwork, and more.

                                              First up is the one that started it all: Back in print after a long, long decade, Queens Of The Stone Age’s self-titled 1998 debut album is restored to its original track listing and adorned by the long out-of-print original Frank Kozik artwork, the soon to be definitive version of QOTSA’s self-titled ground zero will feature an obi-strip designed by longtime collaborator Boneface and will be available on standard black and limited edition opaque orange vinyl.

                                              TRACK LISTING

                                              Regular John
                                              Avon
                                              If Only
                                              Walkin On The Sidewalks
                                              You Would Know
                                              How To Handle A Rope (A Lesson In The Lariat)
                                              Mexicola
                                              Hispanic Impressions
                                              You Can't Quit Me Baby
                                              Give The Mule What He Wants
                                              I Was A Teenage Hand Model

                                              “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.

                                              TRACK LISTING

                                              Feet Don’t Fail Me
                                              The Way You Used To Do
                                              Domesticated Animals
                                              Fortress
                                              Head Like A Haunted House
                                              Un-Reborn Again
                                              Hideaway
                                              The Evil Has Landed
                                              Villains Of Circumstance

                                              Queens Of The Stone Age

                                              Villains - 2022 Reissue

                                                More than a quarter century since its primal emergence from the Desert, Queens Of The Stone Age has elected to give three of its landmark albums the upscale re-release treatment, including limited edition color vinyl pressings, exclusive new and restored artwork, and more.

                                                Villains is reissued in a special 5th Anniversary package featuring etching, obi-strip, and a brand new poster by Boneface, and as a limited edition opaque white vinyl.

                                                TRACK LISTING

                                                Feet Don't Fail Me
                                                The Way You Used To Do
                                                Domesticated Animals
                                                Fortress
                                                Head Like A Haunted House
                                                Un-Reborn Again
                                                Hideaway
                                                The Evil Has Landed
                                                Villains Of Circumstance

                                                The Queers

                                                Today

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

                                                  Adrian Quesada

                                                  Jaguar Soun

                                                    On the heels of his acclaimed ‘Boleros Psicodélicos’ album, Adrian Quesada announces the release of ‘Jaguar Sound’.

                                                    Out on ATO Records, the twelve-track collection marks the second new album of the year from the Grammy-winning guitarist, producer and Black Pumas co-founder, further showcasing his singular and signature ability to build a bridge between seemingly disparate worlds of music.

                                                    Steeped in a heady fusion of hip-hop, psychedelic soul and the opulent orchestration of Italian film scores from the 1970s, the LP draws upon inspirations like The Alchemist, Ennio Morricone and Nico Fidenco, as well as his own experience growing up on the border of multiple countries, cultures and languages.

                                                    Featuring a special appearance from Ikebe Shakedown, as well as harp by Mary Lattimore, Neal Francis on piano, keys from David Garza and an array of strings, horns and percussion, ‘Jaguar Sound’ was produced, written, engineered, mixed and largely performed by Adrian Quesada at his own Electric Deluxe studio in Austin, TX.

                                                    TRACK LISTING

                                                    Reflection With Two Children
                                                    Noble Metals
                                                    Rise Of The Have Nots
                                                    Spirits Feat. Ikebe Shakedown
                                                    Starry Nights
                                                    Alberto’s Loop
                                                    Portrait Of The Artist As A Young Woman
                                                    Fireflies
                                                    Turk’s Cap
                                                    The Inquisitor
                                                    DG On The Keys
                                                    Final Portrait

                                                    Quest Ensemble

                                                    The Other Side

                                                      London-based trio Quest Ensemble present a distinctive twist on the traditional piano trio format. A collaboration between three powerful performers/composers, ‘The Other Side’ sees musical styles woven together into a lyrical tapestry of sound, blending improvisation with co-created original compositions. A truly unique ensemble in compositional process and performance style.

                                                      On 5th June, Quest Ensemble will release their sophomore album ‘The Other Side’. With nods to influences as broad as the contemporary minimalism of John Adams and Steve Reich, the experimental melancholic textures of Radiohead to the progressive jazz precision of Brad Mehldau, ‘The Other Side’ inhabits its own soundworld somewhere in the gaps between chamber, jazz, folk and contemporary classical music.

                                                      From the emotive ‘Moments’, the elasticated melodies of ‘Pendulum’, to the fluid lines and compelling urgency of ‘The Boatman’ and ‘Pedal Down’, Quest Ensemble’s compositions fuse layered melodies and rhythmic patterns to create contrapuntal webs of sound. The process involves sharing improvised ideas, building up layers of music on each instrument to create a patchwork of musical themes with a rich vein of surging Reichian rhythms underpinning each.

                                                      Fusing their backgrounds in western classical, Indian classical, jazz and improvisational technique, Filipe Sousa (piano), Tara Franks (cello) and Preetha Narayanan (violin) are all graduates of the Guildhall School of Music Leadership Programme.

                                                      In May 2014, Quest Ensemble released their much-lauded debut album ‘Footfall’, a collection of part-composed and part-improvised original compositions, steeped in the sense of place that inspired the sound and imagination of their stories. From an ancient leper hospice in Oxford to a stark urban underground rehearsal space, each piece poetically reflects a moment in time, a passing footfall.

                                                      Since 2009, Quest Ensemble have regularly worked with schools, colleges, youth and community groups across the UK, leading creative music projects with musicians of all ages and backgrounds, transferring their collaborative composition methods to community settings, enabling others to experience their way of working. Most recently, the trio were commissioned to create a show with visual artist Somang Lee that was premiered at Centro Cultural de Belém, Lisbon, Portugal as a part of the Big Bang Festival 2018.


                                                      TRACK LISTING

                                                      1. Space Between
                                                      2. Moment
                                                      3. Pendulum
                                                      4. Drops
                                                      5. The Other Side
                                                      6. The Boatman
                                                      7. Land Of None
                                                      8. Pizz Trance
                                                      9. Pedal Down

                                                      ? And The Mysterians

                                                      96 Tears - 2022 Reissue

                                                        Formed in the Bay City/Saginaw area of Michigan in 1962 by Mexican-American children of migrant farm workers, the band gained popularity with the addition of drummer Robert Martinez’s brother Rudy, aka Question Mark, as lead vocalist. The eccentric Question Mark (often stylized as ‘?’) has claimed to have been born on Mars and lived among dinosaurs in a past life.

                                                        The band’s debut single “96 Tears”, with its distinctive organ line played by Mysterians’ keyboardist “Little” Frank Rodriguez, was originally released on Pa-Go-Go Records in 1966, but quickly reissued by the more established Philadelphia-based label Cameo-Parkway Records. The raw-yet-infectious song swept the airwaves, hitting #1 on the Billboard Hot 100 on October 29, 1966, beating out The Monkees, Four Tops, The Rolling Stones, Elvis Presley, Dionne Warwick, Sonny & Cher, The Beach Boys and many more established acts. ? and The Mysterians’ debut album, also titled 96 Tears, followed in October ’66 just as the single was crossing the one million sales mark. The LP, filled out with ten more originals — including the Top 40 hit “I Need Somebody” — plus a version of T-Bone Walker’s “Stormy Monday,” peaked at #66.

                                                        A mere eight months after 96 Tears was released, Cameo-Parkway put out the follow up full-length Action in June of ’67. Their sophomore album is more evenly split between originals and covers, among them “Can’t Get Enough of You, Baby,” written by Denny Randell and Sandy Linzer and first recorded by The Four Seasons one year previous. ? and The Mysterians’ version got to #56 on the Billboard Hot 100, faring better than Smash Mouth’s ubiquitous 1998 version, which appeared on four other Billboard charts but was absent from the coveted Hot 100. Action would be the band’s last studio album for more than three decades.

                                                        “‘96 Tears’ IS one of the greatest rock ‘n’ roll songs in the history of the genre,” said Bill Holdship of Detroit Metro Times in 2009. “In fact it may be the greatest.” In a May 1971 issue of Creem magazine, Dave Marsh referred to a ? (Question Mark) and The Mysterians reunion as “a landmark exposition of punk-rock,” one of the very first times the genre was applied to a band. Not only did they influence others within punk, but they have also had a profound impact on music writ large. “96 Tears” alone has been covered by a diverse range of artists, including Iggy Pop, Suicide, The Modern Lovers, Todd Rundgren’s Utopia, Sir Douglas Quintet, Tom Tom Club, Primal Scream, Big Maybelle, Jimmy Ruffin and Aretha Franklin.

                                                        SiriusXM’s Little Steven’s Underground Garage channel air personality Lenny Kaye, who masterminded the famed Nuggets compilations that shined a light on the garage rock phenomenon of the mid-1960s commented, “‘96 Tears’ is the ur-text of garage rock, the truest ‘Nugget’ if you dug It… In these two albums, Question Mark and The Mysterians answer the eternal query with the yearning spirit and self-revelation that is becoming a band, yowl, reedy organ and guitars on stun, with a backbeat that accelerates the move-and-groove. I remember seeing ‘Qwesty’ and the band at Coney Island High in the mid-90s, me and Joey Ramone hollering, ‘Yeah baybee!,’ knowing we were at the heart of rock as it begins to roll.”

                                                        TRACK LISTING

                                                        Side A
                                                        I Need Somebody
                                                        Stormy Monday
                                                        You’re Telling Me Lies
                                                        Ten O’Clock
                                                        Set Aside
                                                        Up Side
                                                        Side B
                                                        “8” Teen
                                                        Don’t Tease Me
                                                        Don’t Break This Heart Of Mine
                                                        Why Me
                                                        Midnight Hour
                                                        96 Tears

                                                        ? And The Mysterians

                                                        Action - 2022 Reissue

                                                          Formed in the Bay City/Saginaw area of Michigan in 1962 by Mexican-American children of migrant farm workers, the band gained popularity with the addition of drummer Robert Martinez’s brother Rudy, aka Question Mark, as lead vocalist. The eccentric Question Mark (often stylized as ‘?’) has claimed to have been born on Mars and lived among dinosaurs in a past life.

                                                          The band’s debut single “96 Tears”, with its distinctive organ line played by Mysterians’ keyboardist “Little” Frank Rodriguez, was originally released on Pa-Go-Go Records in 1966, but quickly reissued by the more established Philadelphia-based label Cameo-Parkway Records. The raw-yet-infectious song swept the airwaves, hitting #1 on the Billboard Hot 100 on October 29, 1966, beating out The Monkees, Four Tops, The Rolling Stones, Elvis Presley, Dionne Warwick, Sonny & Cher, The Beach Boys and many more established acts. ? and The Mysterians’ debut album, also titled 96 Tears, followed in October ’66 just as the single was crossing the one million sales mark. The LP, filled out with ten more originals — including the Top 40 hit “I Need Somebody” — plus a version of T-Bone Walker’s “Stormy Monday,” peaked at #66.

                                                          A mere eight months after 96 Tears was released, Cameo-Parkway put out the follow up full-length Action in June of ’67. Their sophomore album is more evenly split between originals and covers, among them “Can’t Get Enough of You, Baby,” written by Denny Randell and Sandy Linzer and first recorded by The Four Seasons one year previous. ? and The Mysterians’ version got to #56 on the Billboard Hot 100, faring better than Smash Mouth’s ubiquitous 1998 version, which appeared on four other Billboard charts but was absent from the coveted Hot 100. Action would be the band’s last studio album for more than three decades.

                                                          “‘96 Tears’ IS one of the greatest rock ‘n’ roll songs in the history of the genre,” said Bill Holdship of Detroit Metro Times in 2009. “In fact it may be the greatest.” In a May 1971 issue of Creem magazine, Dave Marsh referred to a ? (Question Mark) and The Mysterians reunion as “a landmark exposition of punk-rock,” one of the very first times the genre was applied to a band. Not only did they influence others within punk, but they have also had a profound impact on music writ large. “96 Tears” alone has been covered by a diverse range of artists, including Iggy Pop, Suicide, The Modern Lovers, Todd Rundgren’s Utopia, Sir Douglas Quintet, Tom Tom Club, Primal Scream, Big Maybelle, Jimmy Ruffin and Aretha Franklin.

                                                          SiriusXM’s Little Steven’s Underground Garage channel air personality Lenny Kaye, who masterminded the famed Nuggets compilations that shined a light on the garage rock phenomenon of the mid-1960s commented, “‘96 Tears’ is the ur-text of garage rock, the truest ‘Nugget’ if you dug It… In these two albums, Question Mark and The Mysterians answer the eternal query with the yearning spirit and self-revelation that is becoming a band, yowl, reedy organ and guitars on stun, with a backbeat that accelerates the move-and-groove. I remember seeing ‘Qwesty’ and the band at Coney Island High in the mid-90s, me and Joey Ramone hollering, ‘Yeah baybee!,’ knowing we were at the heart of rock as it begins to roll.”

                                                          TRACK LISTING

                                                          Side A
                                                          Girl (You Captivate Me)
                                                          Can’t Get Enough Of You, Baby
                                                          Got To
                                                          I’ll Be Back
                                                          Shout (Parts 1 & 2)
                                                          Side B
                                                          Hangin’ On A String
                                                          Smokes
                                                          It’s Not Easy
                                                          Don’t Hold It Against Me
                                                          Just Like A Rose
                                                          Do You Feel It

                                                          ? 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.

                                                            TRACK LISTING

                                                            1. Remember
                                                            2. Seven Hundred Birds
                                                            3. Immersed
                                                            4. Mountains
                                                            5. Fall
                                                            6. Home
                                                            7. Matter
                                                            8. 1743
                                                            9. The Great Expanse
                                                            10. Far Out At Sea
                                                            11. Grace
                                                            12. One To Hold

                                                            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' .




                                                              TRACK LISTING

                                                              1. Bad Art & Weirdo Ideas 
                                                              2. Noisy Heaven [
                                                              3. Future Mixtape For The Art Kids
                                                              4. Filthy Luck 
                                                              5. Dirty Cigarettes 
                                                              6. Too Late To Die Young 
                                                              7. Spin The Dial 
                                                              8. Young Hearts
                                                              9. Throwaways 
                                                              10. Warpaint

                                                              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.

                                                              TRACK LISTING

                                                              The Last Opium Den (On Earth)
                                                              The Bible Black
                                                              Shades Of Gemini
                                                              Rated
                                                              Noah’s Theme
                                                              Utopia & Visions

                                                              Quilt

                                                              Held In Splendor

                                                                Following their 2011 self-titled debut on Mexican Summer, Quilt return with their sophomore album 'Held in Splendor'.

                                                                'Held in Splendor' is an audacious pop-rock record with cascading harmonies and billowing textures, punchy rhythms and snarled guitars, wonderful depth and resplendent peaks. “Mary Mountain” takes hazy Summer of Love memories on a mid-summer road trip in a gleaming muscle car. “Tired & Buttered” invites Booker T over for an energy-addled jam in the garage. “The Hollow” twinkles like Fleetwood Mac and Galaxie 500, with sweet singing backed by the lap steel sighs of young acoustic guitar star and longtime Quilt pal Daniel Bachman.

                                                                Held in Splendor is an album of personal poetry and public questions, confessions and aspirations—really, these 13 tracks are their own playground, brimming with the sort of unapologetic energy and wonder that turns simple songs into absolute anthems.

                                                                “handmade and stitched-together, as though its creators were sifting through a collection of musical hand-me-downs and collating the bits that spoke to them into something new" - PITCHFORK

                                                                “A classical approach to music and an appreciation for the age-old practice of chant and melody with a slight lean toward the weird and experimental" - FADER "A fresh take on well-worn folk rock textures, instilling a bit of color into vintage grooves." – STEREOGUM

                                                                The mesmerizing debut LP by Nova Scotia’s Quilting on October 7, 2022. The album is a quietly stunning collection of pastoral ambience dotted with moments of tension that reflects the maritime environment in which it was created, inadvertently paying homage to the light and darkness of rural life.

                                                                Co-founded by Holy Fuck’s Brian Borcherdt, the quartet is comprised of a diverse and accomplished collection of musicians who came together when he moved back to his home province in 2019 after a lengthy stay in Toronto.

                                                                The shock of settling into a town of 600 people was softened almost immediately by a care package left on Borcherdt’s front porch. It included the curious juxtaposition of homemade preserves and a circuit-bent keyboard. His interest was piqued. As luck would have it, his new neighbour happened to be renowned folk guitarist Kim Barlow.

                                                                “Kim was in the process of organizing an improvisation series featuring over a dozen Nova Scotia-based musicians. The series struggled under lockdown restrictions, and on the second attempt only the four of us showed up.” Borcherdt recalls. “We didn't really know each other that well, were a bit shy and played very quietly. However, we really enjoyed how spacious our jam was.”

                                                                One week after their initial jam, Borcherdt was invited to perform a solo set at a Halifax-based experimental festival called Open Waters. He instead volunteered the same lineup: himself, Barlow, distinguished Isle Of Skye harpist (and Berklee professor) Mairi Chaimbeul, and Sahara Nasr, a noted songwriter and player of the rare Indian Sarangi. It wasn’t long before they began recording and soon realized a name was necessary to make the project official.

                                                                “When we get together to play music, it's our 'poker night'. That led us to think of other community or 'grown-up' gatherings, similar or antiquated... like barnraising bees, quilting bees.” Explains Borcherdt. “We were sort of quilting: four corners of fabric, texture, sewing threads, telling a story, all making one complete piece while drinking a few beers. We could've also called it ‘Therapy’.”

                                                                While providing a necessary distraction from early-COVID life, Quilting also offered a chance to improvise within a uniquely ambient soundspace. This was a welcome change for some of the members, including Borcherdt, who was used to creating music with decidedly more volume.

                                                                “Space is welcome. Writing in Quilting is a spontaneous and thoughtful process, very synesthetic and, of course, collaborative. I've only really gotten to explore space and silence with solo music.” He reflects. “With my other bands, even when spontaneous and improvised, the result is dense and cathartic, expressive through pulse and rhythm and volume. With Quilting we get to drift, no beats, no safety net. Every note counts. Yet rather than being stressed or scrutinized under a microscope we all have fun and daydream a bit.”

                                                                Sonics aside, Quilting has also given all four members the chance to experiment with the boundaries created by headquartering in a remote area not commonly associated with the avant-garde music community.

                                                                “Nova Scotia, unlike other provinces, has basically one city, one place where musicians congregate, play shows and hang out. Anything happening outside of Halifax can be considered an experiment, a test to see anything can get off the ground.” Borcherdt explains. “ In Toronto there's already an infrastructure, whether you play the same venues or build your own new thing- there's an audience, there are friends and like-minded individuals. It's healthier. Here we have to take what we get. But the good news is that it's kind of a blank slate.”

                                                                The LP, which features hand-calligraphed cover art from Upstate New York-based artist and musician Sarah Le Puerta, features five songs all recorded live off-the-floor in a single live performance. Moods range from reflective to unsettled, and even at its loudest parts a sense of intimacy persists.

                                                                “This album feels like a complete picture, a snapshot of one fun night.” He states. “That seems to me to be a perfect introduction. The listener gets to “attend” the concert, which is an amazing way to discover new music.”

                                                                STAFF COMMENTS

                                                                Matt says: I’m obsessed with Nova Scotia. I think I’ll move there one day. And knowing there’s a growing community of isolated musicians making maritime ambience like this only entices me further. I guess it’s like the Highlands without the whiskey… oh wait. :P

                                                                TRACK LISTING

                                                                Streaming
                                                                Tambora
                                                                Maisie Macleod
                                                                Crescent Moon
                                                                April 10 First

                                                                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.

                                                                TRACK LISTING

                                                                1: Passersby
                                                                2: Roller
                                                                3: Searching For
                                                                4: O’Connor's Barn
                                                                5: Eliot St.
                                                                6: Hissing My Plea
                                                                7: Something There
                                                                8: Padova
                                                                9: Your Island
                                                                10: Own Ways

                                                                Quilt

                                                                Quilt

                                                                  Listening to their self-titled debut, it's no surprise that the members of Quilt came together out of a shared love of visual art. While their music is steeped in timeless qualities like the gorgeous harmonies on "Milo" or the twinkling guitar on "Utopian Canyon," the entire record is full of expansive, cinematic moments. Each song can be enjoyed independently, but taken as a whole, the record becomes a world of its own: guitars drift languidly, keys sparkle in and out, often following their own threads into the stratosphere, with vocals that are at once powerful and intimate.

                                                                  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.

                                                                    TRACK LISTING

                                                                    1. Piltdown Man
                                                                    2. Your Reply
                                                                    3. Rare Thing
                                                                    4. Detroit Lake
                                                                    5. A Secret
                                                                    6. Went To LA
                                                                    7. Lean
                                                                    8. Now That I'm Back
                                                                    9. Carry The Zero

                                                                    '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).


                                                                    Quinquis

                                                                    Seim

                                                                      “I went back to my roots,” says Émilie Tiersen (née Quinquis). “And I realised how much Breton culture was a part of me.”

                                                                      Émilie Tiersen has, over the course of two albums and several years, made music as Tiny Feet and is now, with the release of Seim, her debut for Mute, known as QUINQUIS. The name change is symbolic; simultaneously paying homage to her personal and family history by referencing her maiden name, as well as representing a fresh start musically. “It’s been a new start for many things,” Émilie says. “Self-acceptance has been a really big thing for me.”

                                                                      From forging a deeper connection to her own culture, history and identity, to exploring new musical terrain and becoming a mother, it’s been a period filled with significant change. It was during this time that she began to explore new ideas. “I was on tour with Yann [her husband, Yann Tiersen] and our baby,” she recalls. “During my baby's nap I created a rule for myself: to come up with one new idea in every new city. From the very beginning this was a journey.”

                                                                      Soon people began to join Émilie on this journey. Characters - some from her own life, others rooted in the history of Breton culture - began to come alive in song ideas. She discovered Ankou, a servant of death in Breton mythology who comes to see you in the year that you die; she explored Seiz Breur, a 1923 Breton art movement founded by a young woman in the very same small village she is from; she tapped into the lives of friends, exploring a rich tapestry of people, places, emotions and stories all tied together by a shared commonplace: Brittany. “I put the stories of those people around mine so that I could have them share this journey with me.”

                                                                      “It’s been a really rich and nourishing period,” Émilie says. “I've discovered what it is to be a mother. To have a son has answered many questions I had about life and roots, and so this was the first step to a very deep discovery. I am raising my child in the Breton language, so there was this kind of rebooting of the whole system.”

                                                                      Once these ideas began to mutate into something more musical, she connected with Gareth Jones, celebrated producer who has worked with groups such as Liars, Depeche Mode and Apparat. He initially offered to play some synths but their partnership grew into something more. “The record revealed itself in the back-and-forth Gareth and I had,” she says. “It was really unexpected because Gareth and I are quite the opposite. We are really different on paper but through this album we've shared something unexpected. He’s got a bit of a mentor aura - he was the light to my darkness.”

                                                                      The result of their work is one that merges sparse electronics, immersive atmospherics, and deft melodies, all of which are carried by Émilie’s tender yet quietly soaring vocals. The opening ‘Adkrog’ (aptly translated as ‘Start Again’) stirs the album to life with soothing yet unpredictable pulsations, as though a new world is awakening and working out its newfound surroundings. “It's about finding the energy in environment and nature,” she explains. “When I was feeling desperate, I sat outside and I prayed for nature to give me some answers. This song is about that - if you just let go then nature gives you an answer.” ‘Setu’, on the other hand, a story about the aforementioned Ankou is driven by scattered beats, floating vocals and considered sonic textures that bubble up from peaceful to potent.

                                                                      The subtle arrangements across the album are reflective of a philosophy Émilie was exploring. “I'd been reading into wabi-sabi,” she explains. “It's a Japanese way of thinking about finding beauty in imperfections. The idea was to accept my imperfections and find the beauty in simple and small things. Minimalism has impacted the album - to try to find a way to stay humble.”

                                                                      Collaborations also extend to Ólavur Jákupsson, who sings in Faroese on ‘Run’ (which translates to ‘Hill’), a song about being woken up by a blast of cold wind on top of a hill, which melds woozy tones, plucked strings, engulfing atmospheres and Émilie’s intimate and whispered vocals. On ‘Netra Ken’ the writer and endurance cyclist Emily Chappell features, reading an extract from her book (in Welsh) “Where There’s A Will”, capturing her determination and resilience. Talking about the use of language on the album, she explains, "I think languages are a living way of telling people’s mind and culture, their diversity brings us closer and helps us understand better. That’s why I was happy to have Welsh and Faroese along with Breton in the record… they are somehow cultures that seem close to mine.”

                                                                      To make it even more unique, Émilie sings throughout in Breton. “Singing in the Breton language made me realise what I was made from,” she says. “Everything was suddenly easier and it gave me more freedom. It's a very special language and so to write interesting lyrics was a process of researching but it was so nourishing to discover new stuff about nature or people thanks to that language.”

                                                                      Nature is key to the album and lends itself to the title, as well as key themes in individual songs. The album title Seim translates as “sap”. “It's really about when you have low energy,” Tiersen says, “and you need to recollect the sap so that the tree gets green again. The whole album was really about making me green again. The more I recorded music, the more I felt green.”

                                                                      This sense of rejuvenation, rebirth and a musical awakening coincided with Émilie plunging into her own community, history and culture. “The more I was learning about myself, the more I was discovering the people around me,” she says. “Now I'm on the City Council here on Ushant [the remote Breton island she and her family live on]. The more I go into it, the more involved I am in the Ushant community. I really felt during these past few years that people have been so supportive.”

                                                                      This feeling of being lifted by the community is reflected in ‘Ôg’ a story about a woman from Ushant whose husband went to work at sea (the oil tanker Betelgeuse) while she was 8 months pregnant. All 52 men died, 51 on board, with the exception of her husband who died trying to make it ashore.” The widows of the 51 men on board came together to help the woman with clothes and other things for the baby. “This story really resonated with me.”

                                                                      This sense of interconnectedness leads to the album being a multifaceted one. It is deeply personal and introspective yet also collaborative and expansive. It is rooted in both historical and modern stories. It is an album that connects worlds while being entirely its own. “There is something cosmic about it,” says Émilie. “I don't know how to explain that but the way it happened with Gareth, and the way everything just suddenly all came together feels like cosmic harmony.”

                                                                      It’s also an album that brings to life, in a singular and contemporary way, the lives, stories and people of the Breton culture and its language. “The album was a way for me to tell stories of the people here. I really felt that during the whole process that through stories I could tell the history of Brittany or Ushant. It's an album that is full of ghosts. I'm happy with that. I have a good relationship with ghosts.” 

                                                                      STAFF COMMENTS

                                                                      Barry says: Seim is a striking collection of swooning electronic anthems, rooted in club music, but tempered into a hazy post-party wooze, all topped with soft French vocals. It's a wonderfully written evocative set of electronic anthems, and perfectly at home on Mute.

                                                                      TRACK LISTING

                                                                      1. Adkrog
                                                                      2. Eñvor
                                                                      3. Setu
                                                                      4. Run
                                                                      5. Mintin
                                                                      6. Estren
                                                                      7. Netra Ken
                                                                      8. Ôg
                                                                      9. An Divare
                                                                      10. Te

                                                                      The Quireboys

                                                                      A Bit Of What You Fancy (30th Anniversary)

                                                                        The Quireboys release a limited run of a totally new re-recorded version of A Bit Of What You Fancy to mark the albums 30th Anniversary - We live in strange times and from the darkness there is a beautifully shining beacon of rock’n’roll light. Our favourite hard-working quartet have been back in the studio re-recording their iconic first album with the current Gypsy Rock n Roll sound of The Quireboys. The new recording will prove to be powerful, inspirational and full of all the quality a modern-day recording can anticipate.

                                                                        Following the incredible 35 & live show at The O2 Academy Forum London in September 2019, the boys were blown away at how the crowds still respond to the music after 30 years, the atmosphere was electric and hearing the whole crowd singing the timeless tracks cemented that unity between the audience, the band and the music. A Bit Of What You Fancy remains one of the greatest rock albums of all time, loved by fans and critics alike, the singles and many of the album tracks can be heard to this day on rock radio, the music remains timeless and is almost certainly guaranteed to fill the dance floor at any party or rock bar. At the time of release back in 1990 the band managed to score a very respectable Number 2 in the UK Album Charts, this time around they’re gunning for Number 1, everywhere they can.

                                                                        This is a must for all Quireboys fans worldwide and while this will be available on Vinyl, both will be on limited runs, with a new modern cover. The album will be available on Black Vinyl with a very special Vinyl Collector’s item in Blue Vinyl available too. The Quireboys frontman Spike commented, "It's where it all began, it was an incredible album that launched our careers, but the way we sound n play now doesn't give it the justice it needs. Henceforth, it's been a pleasure updating it to our modern-day Gypsy Rock n Roll Sound. I'm sure everyone will enjoy this new version in all its glory, marking its 30th Anniversary."

                                                                        TRACK LISTING

                                                                        1. 7 O’clock
                                                                        2. Man On The Loose
                                                                        3. Whippin’ Boy
                                                                        4. Sex Party
                                                                        5. Sweet Mary Ann
                                                                        6. I Don’t Love You Anymore
                                                                        7. Hey You; Mislead
                                                                        8. Long Time Comin’
                                                                        9. Roses And Rings
                                                                        10. There She Goes Again
                                                                        11. Take Me Home Tonight

                                                                        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!

                                                                          Hell Yeah call upon their merry crew of grown up groove makers to revisit key tracks from Quiroga's widely acclaimed Passages album, with Whodamanny, Jazz N Palms, A Vision of Panorama and My Friend Dario all stepping up.

                                                                          The original album was noted as Piccadilly Records' Best Balearic Album of 2019 and a year on is still providing solace for us in these strange times. First to add his own spin to it is Periodica associate Whodamanny from Naples, whose magical take on 'Martinica Feelings' made it onto the excellent recent Buena Onda compilation, which is out now. It is a big hearted vocal reinterpretation filled with stomping kicks and twisted synths that bring the funk next to withering sci-fi effects and happy piano chords.

                                                                          Then, up steps man of the moment Jazz N Palms, a resident at the cult Ibiza venue Pikes and regular at London's Ronnie Scotts. He has recently started his own self titled label and here offers a mad Latin jazz take on 'Africa Addio' that brims with energy and sunshines. The busy percussion will make you move your ass and the whole thing has a sexy 70s vibe.

                                                                          Saint Petersbourg's very own balearic legend A Vision of Panorama is hailed as the king of the modern balearic sound thanks to EPs on labels like Omena. He takes care of 'The Zoist' with sentimental melodies and sunset grooves to die for. His arching pads speak to the soul and melt the heart.

                                                                          Last of all, Hell Yeah's very own discovery My Friend Dario (who soon has an EP coming on NuNorthern Soul, recently remixed Calm and Gallo) tackles 'Chiaia Sunset'. The result is a laidback and cathartic track that slowly unfolds on tumbling drums and wooden hits as synths leave vapour trails high up in the clear blue sky above.

                                                                          These are four more high class remixes that will keep the summer vibes alive long into Autumn.

                                                                          STAFF COMMENTS

                                                                          Patrick says: My pick for best Balearic record of 2019 returns in remix form here, with a quartet of top musical talents taking on Quiroga's amazing 'Passages'. It's an all styles, all flavours affair with Whodamanny's Neapolitan funk rubbing shoulders with the Latin interpretation of Jazz N Palms on the A-side, while dreamy Balearic interpretations come from A Vision Of Panorama and My Friend Dario on the flip.

                                                                          TRACK LISTING

                                                                          A1. Martinica Feelings (Whodamanny Reinterpretation)
                                                                          A2. Africa Addio (Jazz N Palms Remix)
                                                                          B1. The Zoist (A Vision Of Panorama Remix)
                                                                          B2. Chiaia Sunset (My Friend Dario Remix)


                                                                          Latest Pre-Sales

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