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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 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.

          "CCR - Club Culture Rarities" the new record label exclusively dedicated to re-prints of cult and rare 12” taken form Expanded Music’s labels.

          The 2nd release on "CCR - Club Culture Rarities" is a real deep house anthem produced by Andrea Gemolotto and Claudio Zennaro

          Q BASE "Atmosphere E.P." originally released in 1991 on DFC 045.




          TRACK LISTING

          A1. IL SOLE (the Sun) – Deep Mix
          B1. LA PIOGGIA (the Rain) – Tribal Mix
          B2. IL VENTO (the Wind) – Underground Mix

          Limited to 250 copies, hand stamped.

          Ace! La Beauté Du Négatif welcomes Qeta, best kept secret from xxxxxx. 5 trackers from electronica to jungle via braindance. There's a subtle but definite uprising of this hybridized IDM; which takes cues from AFX, Autechre & Boards of Canada whilst utilizing the most hi-tech modules and equipment around. Brainwaltzera, alongside much of the FireScope roster know this formular brilliantly, but it's especially pleasing to see La Beauté Du Négatif get in on the action. Superb, from start to finish; it's refreshing to see this sound invigorated with such enthusiasm and nuance. A breathtaking release - you simply must check it out! 


          STAFF COMMENTS

          Matt says: Top drawer braindance music here on the exquisite La Beauté Du Négatif - one of my favourite labels of the last decade. Taking in vintage BOC and AFX blueprints but psychedelicizing them for modern consumption. Superb.

          TRACK LISTING

          A1. Annexx
          A2. Go With The Rush
          B1. Llexi
          B2. I Know You (Qeta Rmx)
          B3. By Dawns Early Light

          Qlowski

          Quale Futuro?

            What future? What futures? When fear substitutes truth / Misinformation obscures reality / And speculation prevails on experience / Brutality seems necessary / And empathy appears naïve.

            One. Simple. Direct. Question. Quale Futuro? What Future? Obliterated by a tumultuous year with lingering anxiety, uncertainty and a city ready to break any strand of hope, Qlowski, resorted to what they know best, turning frustration into dreams, stockpiling possibilities, fabricating desire and simply, living. This is Quale Futuro? their debut LP for Maple Death Records 

            London based twee-punks Qlowski entered the studio in late January 2020, basically before everything. Crammed in a small studio room in Tottenham Hale with producer Lindsay A. Corstorphine (Sauna Youth, Cold Pumas, Middex) they created a striking, full blown manifesto, where their early post-punk nuances are heightened by an extremely poetic and compelling vision that encapsulates words, imagery and noise. Propulsive rhythms, a modern spin on kiwi-pop and a weird combination of dark punk, noise rock and flower pop are still the foundation of their sound but it’s the combination of bandleaders Mickey and Cecilia’s voices that creates an eerie effortless sense of familiarity. It’s no wonder they’ve known each other since they were young kids. ‘A Woman’ shines bright with Cecilia’s intimate and prismatic approach that unites Poly Styrene’s fierce delivery with the ethereal vocal melodramas produced by Joe Meek in the 60s. Mikey’s howl is confrontational and direct, moving from the motto-induced style of Italian new wave art-punks CCCP on ‘Lentil Soup’ to a deep commanding calm steadiness on ‘Lotta Continua’ and frenetic frenzy on ‘To Be True’. The stabilizing presence of Danny and Christian’s rhythm section has freed the band to develop and expand furious kraut-punk assaults like on deep cut ‘The Wanderer’. Les Miserable from London punks Italia 90 lends his snarl on the sci-fi 50s tinged romantic closer ‘In A Cab To Work’.

            Ferocity, heart, art and conviction travel together on Quale Futuro?, placing Qlowski in that beautiful lineage of bands trying to escape the masculine showmanship of borderline rock’n’roll and outsider punk. Martin Newell, Television Personalities, Half Japanese, The Raincoats, The Clean, Killing Joke, Aussie Punk. Music narrating life through all the artistic forms. If concrete-punk was just a fun label thrown around to define Qlowski in the early days, now it has become a calling, a statement defining their future. 

            Qlowski is Michele Tellarini (Guitar, Keyboards, Vocals), Cecilia Corapi (Keyboards, Vocals), Danny Smartt (bass, clarinet) and Christian Billard (drums, percussions). Quale Futuro? Recorded and mixed at Devils Mango IV by Lindsay A. Costorphine. Mastered by Mikey Young. Artwork by Harry Steel.  

            TRACK LISTING

            1. Ikea Youth Pt.2
            2. Folk Song
            3. A Woman
            4. Lentil Soup
            5. To Be True
            6. All Good
            7. Interlude (02/11/1975)
            8. Lotta Continua
            9. Larry’s Hair Everywhere
            10. The Wanderer
            11. In A Cab To Work

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

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


            STAFF COMMENTS

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

            TRACK LISTING

            A1. Sand Progression
            A2. Atacama Behemoth
            B1. Air Progression
            B2. Touching Down, Taking Off

            R.A.N.D. Muzik welcomes good friend Qnete to the label for his first full length EP. Hardcore Piccadilly heads will recognize this producer's unique and flavoursome stylings but don't worry if he's been under your radar till now - this is the perfect entry point!

            Possessing a high fidelity, weighty production that finds a natural home on the high powered sound systems of the Club; Qnete takes influence from prog, techno and bass music to create a hybridized sound that's completely his own. Machine rhythms snap and thud, synthlines crackle with electrostatic, 303s spit acid goodness and bass tones rumble from beneath; providing a deep aesthetic that'll appeal to all lovers of late night dance music.

            In our humble opinion Qnete is one of the best newcomers on the scene right now - check this out!!




            STAFF COMMENTS

            Matt says: Rock solid, futureproof dancefloor vibrations from this rising star. Hats doffed to RAND for signing him. Coming to a nightclub near you this Winter!

            TRACK LISTING

            Weightless (Remix)
            Hover
            Mind Warp
            Weightless

            "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

            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 & Nidia Gongora

            Almas Conectadas

              ‘Almas Conectadas’ (Connected Souls) is the sophomore album from renowned British producer Will “Quantic” Holland and Colombian folklore singer-songwriter Nidia Gongora.

              Bubbling with symphonic flourishes, the release explores the unique, rich, and mystical musical traditions of the Colombian Pacific Coast while being recorded at Quantic’s Brooklyn-based studio and creative powerhouse Selva. Delving into the concept of the album, Nidia explains:

              “Almas Conectadas refers to the interrelation of cosmic energies, the aura and the way they manifest from the abstract; we are more than body and flesh and there are countless elements that connect us as beings that interact in the universe, physical contact does not always exist to be connected.”

              ‘Almas Conectadas’ explores the nostalgia of impossible love, celebrates eternal bachelors, mourns souls lost at sea, and tells stories of dwellers from Timbiqu (whose location and cultural contrasts provides endless inspiration). Protecting the essence of the region’s rich songbook and treating the cultural traditions of the Pacific coast with the utmost reverence, ‘Almas Conectadas’ is the perfect marriage of musical diversity, collective creation and intercultural dialogue.

              Nidia Gongora’s magnetic voice and captivating songwriting is matched to the unparalleled musicianship and pioneering production of Quantic, across eleven flawless tracks.

              TRACK LISTING

              Doncella
              El Chiclan
              Balada Borracha
              Almas Conectadas
              Orozul
              Adorar La Sangre
              Adi S Chac N
              Pronto Alivio
              Macumba De Marea
              El Avin
              Vuelve

              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, aka Will Holland debuts on Aus with the ‘Heaven Or Hell’ EP a five tracker which follows last years ‘Theme From Selva’; the Studio 54 funk bomb that BBC 6 music snapped up for their A list, so far racking up 200 spins to date. ‘Heaven or Hell’ finds the balance between contemporary and heritage perfectly. Hypnotic disco grooves with lush warm melodic house licks all tied together with those signature walking basslines and live percussive funk that Quantic is known and loved for. Over five tracks he keeps it quite kinetic, nicely settling into the Aus Music remit whilst imparting a good degree of his musical personality into the tracks. An excellent release!

                  STAFF COMMENTS

                  Matt says: A surprisingly house-focussed turn for eclectic producer. It's nonetheless earnest and authentic, rolling out four highly electronic and kinetic movements that aren't a million miles away from Fort Romeau, Nebraska or Leon Vynehall. Playful yet weighty; swinging nicely from the shoulders down to the hips and displaying some lush sound design.

                  TRACK LISTING

                  A1 - Heaven Or Hell
                  A2 - Let The Sparks Fly
                  B1 - Night Jaguars
                  B2 - OM617
                  B3 - Shake Your Demons

                  After a deluge of dance producers sampling Quantic Soul Orchestra's classic 'Pushin On' the original composer Will Holland decided the time had come to take the wheel himself. 'I Won't Fade Away' features the timeless vocal of Alice Russell but veers away from previous channels, deep diving into UKG through an analogue lens, tape hiss included. By mining the less obvious vocal aspects and taking unexpected steps through broken beats, Quantic has created a genuinedance floor anthem just in time for psrty season.

                  TRACK LISTING

                  A. I Won’t Fade Away
                  B. I Won’t Fade Away (Instrumental)

                  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".

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

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

                          TRACK LISTING

                          You Can Stay But You Got To Go
                          See You On Mars
                          Blasted
                          Chrome Duck
                          Chumps Of Chance
                          Fat Fanny Land
                          Nostalgia Kills
                          R.I.P.
                          Headshrinker
                          Bedbug Town
                          The Goat
                          Geraldine
                          Loopy
                          Double Deuce
                          Gnot
                          Dust Of The Sun
                          Mole City
                          An Ice Cube In The Sun
                          One And Done
                          The Dying Man
                          Clap Trap
                          New Western Way
                          Beyond The Return Of The Sun Of Nowhere

                          Quasi Covers EP
                          Don't' Stop Me Now (Queen)
                          War Pigs (Black Sabbath)
                          Let's Get It On (Marvin Gaye)
                          What's So Funny 'Bout Peace Love & Understanding (Elvis Costello And The Attractions)

                          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

                            A Night At The Opera

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

                              Queens Of The Stone Age

                              ...Like Clockwork

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

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

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

                                TRACK LISTING

                                1 Keep Your Eyes Peeled 
                                2 I Sat By The Ocean 
                                3 The Vampyre Of Time And Memory 
                                4 If I Had A Tail
                                5 My God Is The Sun 
                                6 Kalopsia 
                                7 Fairweather Friends 
                                8 Smooth Sailing 
                                9 I Appear Missing 
                                10 ...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.

                                  “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

                                  Debut Album from New York's Scott Mou.

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

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

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

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

                                  TRACK LISTING

                                  1. Yellow Pages
                                  2. Keep It
                                  3. Frost Flowers
                                  4. Cables
                                  5. Here Comes The Snow

                                  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.

                                    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

                                      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 Clapping

                                        The Abbey Of The Black Hag

                                          Irish witches and haunted places have always fascinated me. I wanted to create a project that evoked a strong sense of history, sadness and something that also had a sense of danger within the confines of somewhat static music. Using turntables, dubplates, guitars, organs and a cello, I wanted to make something that sounded both clear and hazy, warm and cold, new and old.

                                          It started with recording each sample individually, and then stitching them together, overdubbing parts and making the composition flow. There is a dichotomy within the sounds but the overarching purpose of these compositions is evoke some sort of feeling or connection to our eldritch history...and perhaps to ward off the Bean Sí.

                                          TRACK LISTING

                                          1. Cailleach 18:50
                                          2. An Gaorthadh 19:46
                                          3. The Ballad Of Bridget Cleary 20:20 Video

                                          Parisian multi-instrumentalist Will Galland has been with First Word since late 2014, providing several releases for us over the years, from his acclaimed debut album 'The First Day' to his last EP release, the organic opus 'Human Being - The Short Story Of The Reed'. Collaborations have included Makaya McCraven, Oddisee, Miles Bonny and First Word crew such as Eric Lau, Bastien Keb and Sarah Williams White, who he teamed up with on his classic remix of the track 'Hum' and most recently on the track 'One By One' which appeared on the compilation EP 'A Family Affair' at the start of 2021.

                                          For his latest project, 'Movements' sits firmly in the realms of broken beat, after being heavily inspired at First Word's infamous 14th birthday party at Total Refreshment Centre, where he played alongside label-mates such as Kaidi Tatham and Children of Zeus. This delectable six-track EP encompasses a series of deeply percussive grooves and squelchy synths. This is a predominantly instrumental affair, though does feature the supremely soulful vocals of Oliver Night on the track 'Change Must Come', following on from Oliver's work with the CoOp Presents crew amongst others.

                                          Quiet Dawn says "after the birth of my son, I took the time to get back to making new music.

                                          And when I started to work on new tracks, I wanted to compose something without concept, unlike my previous records, just because time is precious and I wanted to find pleasure again when I composeand not be fixed to a concept, or a story.



                                          These new tracks are instinctive; made with my main instruments, rhodes & piano, synths, percussions, vocals, bass and guitars. They are naturally oriented towards my big musical crush, BRUK, along with different rhythms, vibes and grooves. For me, it's definitely a record for the dancers. For this reason, the new EP is called 'Movements'. Aside from the dancer's element, the title relates to everything that is happening in the world at the moment, working on this record over the pandemic. Affecting people in all countries, friendship, mutual aid, solidarity and movements in many instances are very important to me, my family and my musical family, First Word.'



                                          The influences on this particular EP come largely from the West London music scene; DKD, Bugz, Neon Phusion, 2000Black, Domu, IG Culture, Jazztronik, MdCL, the First Word fam and many many more artists. There are also heavy vibes inspired by 70's jazz, funk, disco, latin & african music."

                                          TRACK LISTING

                                          1. Yellow
                                          2. Change Must Come (feat. Oliver Night)
                                          3. Breathe
                                          4. Swirl
                                          5. We Can Do Everything
                                          6. Coming Up

                                          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

                                              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).


                                                  For fans of.. Durand Jones & The Indications, Frightnrs, Thee Sinseers, Jr. Thomas & The Volcanos, Bobby Orozo.

                                                  Producer, songwriter, and member of Thee Sinseers, with an upcoming LP on Colemine Records; Joey embodies the East LA sweet soul scene, and it now dipping into reggae! As the leader of the modern Chicano soul outfit, Thee Sinseers, and releasing a string of singles as a solo artist, Joey Quinones and his crew have recently been ushering in a new era of modern soul. It is the type of music that shares a genesis with the birth of soul and R&B sounds emitted from the classic lowrider cruising down Whittier Boulevard to the sunshine-y vibes of traditional ska and dancehall reggae. And with his debut 45 on Colemine, Quinones shows that he's adept at not just the slow and low, but also the mellow sounds of early reggae. 

                                                  STAFF COMMENTS

                                                  Matt says: Sounds like vintage lover's rock - and had me scouring the internet for the 'original' release like a fool. This is the original! Joey Quinones brings back those vintage feels and flavours, having dabbled with soul we now get his authentic-as-you-like take on reggae, with an aforementioned lover's / rocksteady feel to proceedings. Well good.

                                                  TRACK LISTING

                                                  1. For You
                                                  2. On Taitt St. (Instrumental) 

                                                  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.” 

                                                    TRACK LISTING

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

                                                    Quinteto Ternura & Trio Ternura

                                                    Baby / Filhos De Zambi

                                                      ‘Baby’ - cross it off your Wants List at last. Written by Caetano Veloso, arranged by Arthur Verocai, covering Gal Costa. An absolutely killer Brazilian modern soul jam - taken from the Quinteto Ternura self-titled LP from 1974. ‘Filhos De Zambi’ is uptempo samba-funk of the highest order, and now very difficult to find at a decent price in it’s original RCA ‘compacto’ format. ercussion high on the mix, hands claps and a brilliant harmonised chorus line.

                                                      TRACK LISTING

                                                      Quinteto Ternura - Baby
                                                      Trio Ternura - Filhos De Zambi

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

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

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

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

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

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

                                                        STAFF COMMENTS

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

                                                        TRACK LISTING

                                                        A1. Got Your Love
                                                        A2. Martinica Feelings
                                                        A3. The Zoist
                                                        B1. North Hollywood Witches
                                                        B2. Non Dire Notte
                                                        B3. Africa Addio (Ode To Fourth World)
                                                        C1. Città Di Mare
                                                        C2. Luzhin Defence
                                                        C3. Amori Proibiti
                                                        D1. Chiaia Sunset
                                                        D2. Viaggio A Tulum
                                                        D3. Bava

                                                        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)

                                                        Quivers

                                                        Golden Doubt

                                                          Melbourne-via-Tasmanian four-piece Quivers first released their 2018 debut We’ll Go Riding On The Hearses as hand-made cassettes. The album dealt with singer Sam Nicholson’s loss of his brother in a freediving accident, and “trying to not think about that, and often coming back to ghosts, benders, water, and pissing in the snow.” When demand for the album grew, it received a vinyl release and led Quivers to tour the US, film a KEXP session, and be selected by NPR Music for both the Austin 100 SXSW preview and as a “Slingshot” artist to watch. Their life-damaged but hopeful jangle pop has only sharpened since then, and while 2021 follow-up Golden Doubt conjures up REM or The Clean, there is a lyrical directness that sets this record apart as always its own.

                                                          Golden Doubt is carried by shimmering guitars and the harmonizing vocals of members Holly Thomas and Bella Quinlan. Elevated by the production of Matthew Redlich (Holy Holy, Husky, Ainslie Wills), the record explores what comes after grief, and how one throws oneself back into love. As Nicholson explains, the album tries to bottle “the rush of feelings and fears when you give in to falling for someone. It’s also an album in love with other albums, and the other bands around us.” Before each take at Woodstock and The Aviary studios in Melbourne, Australia, the band would imagine a scene together (a waterhole for “Laughing Waters”, an overgrown carpark for “Videostores”) and then dive in to capture live group takes. Quivers need to get words on the page and sounds out to keep moving on. Both Nicholson and Thomas lost their brothers in the same year, and through that shared vulnerability they all have together that runs deep. Golden Doubt is also a love letter to playing music as a band and processing it all together rather than just carrying it as a weight.

                                                          TRACK LISTING

                                                          1. Gutters Of Love
                                                          2. When It Breaks
                                                          3. Hold You Back
                                                          4. Nostalgia Will Kill You
                                                          5. Chinese Medicine
                                                          6. You're Not Always On My Mind
                                                          7. Videostores
                                                          8. Overthinking
                                                          9. Laughing Waters
                                                          10. Golden Doubt


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