Quatermass is fed by artists who simply ignore the rules. Their headquarters is closer in resemblance to a secret laboratory than a "record company." This doesn't mean that we are spreading an experimental language. The objective is to help unique musicians in developing new forms of music to "dance" to. From hip-hop to dub, post-rock to electronica, Quatermass is the type of label from which one could expect anything but the unexpected! Check Freeform's musical journey in Asia, rock in the Calla way, the sunny vibes of the Australian r'n'b/hip-hop from the Mother Tongues collective, the urban vibes from Spectre or Sensational, the poppy "early morning" tunes from Music A.M., they aren't afraid of nothing, are you?
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QS 172CD
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Orphica is the debut album by London-based artist and musician, Mikhail Karikis. After having had his music released alongside sound artists and on a compilation by pop experimentalist Björk to much critical acclaim, Mikhail's work comes highly-anticipated. Orphica takes the listener on a thrilling sonic adventure. Twelve songs map a journey through epic encounters, intimate confessions and emotional confrontations in an exuberant melding of pop, electronica, Greek folk and avant-garde music. Drawing inspiration from the mythical singer Orpheus whose music had miraculous powers, Orphica's sonic universe is high-tech and baroque, raw and delicate at once. Its combinations of sounds are unique: beats made from thrashing knives, smashing plates and electronics slice through the sounds of harps and harpsichords, while choirs chant alongside distorted static, creaking insects and whistling bats. In the midst of this, Mikhail's voice reaches out for its limits with the determination of a futurist. Orphica presents the results of a bold musical experiment by an artist whose vision aims to channel the raw energy and lyricism of folk song while pursuing musical innovation.
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QS 179CD
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These days it's not the Guatemalan countryside, the scenario changed, and Radio Zumbido found himself traveling between Los Angeles, California and Barcelona, while doing the music for a documentary. Lots of ideas, tapes and field recordings gathered on the way, and the result is this new album called: "pequeño transistor de feria" ("little fair transistor") The sights and sounds of a chaotic city like Los Angeles, where Latin culture seeps carefully but grows strongly into America's old Anglo dream, thanks to a denied mass of immigrants that cross the border illegally every day. All of this mixed with the similar vibe that goes out in Barcelona, where Radio Zumbido has been living the last years, The album was recorded with some analog tape machines and instruments, using fewer samplers, in favor of an accidentally more organic sound. Keys, kalimbas, guitars and different percussion were played live. This album is not a follow up to 'Los Ultimos Dias...', since places and views have been changing, it's the natural evolution of a sound that still has the Radio Zumbido trademark. Definitely a more filmic album!
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QS 165CD
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Düsseldorf transplant via New York, this is TG Mauss' (Torsten Mauss) second solo record, having previously recorded as one half of the synth-pop electro duo Tonetraeger together with Volker Bertelmann (Music A.M., Hauschka). Mauss' debut, Mechanical Eye was a melodious boat trip, an acoustic calling card, and as was promised, the captain has not retired: the fantastic voyage continues. Gravity Will Keep Us All Together is not only the title of his second album, but a statement: whereas modern physicists still discuss whether gravity is all but a form of energy, Mauss acts in the spirit of visionary inventor Nikola Tesla and explores the universal force of music with his intuition as a guide. His adventurous experiments with percussion and guitar strings lead to the rediscovery of the common cultural denominator: pop. Drifting away from the constrictive worlds of minimal music towards his own multicolored cosmology, Mauss surprises with a cocktail of playful beat and Brit-pop melodies, stomping '80s disco and hippiesque country. A talented parodist, he even catches the dark mood of industrial without losing emotional warmth and joie de vivre. TG Mauss gives his music the space to develop and blossom, infecting listeners with a heartfelt happiness.
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QS 174CD
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This is the second album from Düsseldorf-based Volker Bertelmann (Hauschka, Tonetraeger) and Stefan Schneider (To Rococo Rot, Mapstation), with vocals and lyrics by Scottish author Luke Sutherland (Long Fin Killie, Mogwai). Combining gentle seduction with high tension, Unwound from the Wood features mature electro-pop with subtle wind sections, guitar themes and sophisticated rhythms. These songs are admirably flexible, revealing R&B-style diary entries, shimmering instrumentals and trips that take us to the great pop songwriting-factories of the '60s. Looking at the old form from new angles is where the story of Music A.M. begins. Artifacts from dancefloors past pulse in warm color, yet the music is not entirely smooth and simple. Unwound from the Wood sees the band somersaulting towards the heartlands of pop, while delving deeper into the well of warped micro-rhythmic whimsy. Eleven songs teem with sparkling electronics, driving drum patterns, whirlpools of guitar and Rhodes, choirs beamed in from distant solar systems, all laid out on beds of the bluest bass and brass, accompanied by stories of love, loss, longing and libido.
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QS 162CD
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The debut album from Berlin-based electronic artist Matthias Grübel, aka Phon°noir. Summoning insight by loading arbitrarily recorded noise bits and sampled sounds from daily life into a drum computer, Grübel located a unique sound built from broken rhythms. Creating its own sphere between clicks'n'cuts and songwriting, Putting Holes Into October Skies is an intimate record, inviting you to enter fragile little soundscapes in a charming less-is-more-mode. Ethereal guitars meet warm lo-fi-electronics, accompanied by Grübel's haunting vocals, forming sixteen melancholic tracks, as comforting as the end of a long winter. Playful yet broken, distraught and despairing, but always with a chink of light hiding around a forgotten corner. Almost pop, but not quite.
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QS 160CD
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Splitting time between Austin, TX and New York City, Wayne B. Magruder plays drums and samples for Brooklyn-based band Calla and records as a solo artist under the moniker "Wayne B." Taking cues from his past membership in Bowery Electric and Windsor for the Derby, Wayne B creates music with acoustic guitars, gritty samples, sub-bass, and fractured drums. With his new album, Night of the Hunter, Wayne B takes urban rhythms and folds in a rural influence. The conflicting hi/lo-fi production tactics and eerie textures create strange songs and fables. Guest vocals by Jana Plewa (Berlin) and Daphne Gannon (NYC) add a provocative ambience perfect for getting lost to.
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QS 157CD
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Düsseldorf transplant via New York, this is TG Mauss' (Torsten Mauss) first solo record. Having previously recorded as one half of the synth-pop electro duo Tonetraeger together with Volker Bertelmann (Music A.M., Hauschka), Mauss has crafted his intimately-structured new release from retroactive memories of a dream-filled childhood. A soft wind, a warming breeze, each track on Mechanical Eye is a calm and thoughtful journey through minimal electronics, and soft, purring vocals. Each song is a brief story: in every departing wave a sound, a tone, in every white horse a voice, the glint of a guitar. What is created on Mechanical Eye is a fragile and delicate jewel and perhaps, ultimately, really treasure at the bottom of the ocean. Generous with shimmering samples, and with broad, catchy old-fashioned indiepop, it scarcely matters what you'd call it or what category you'd place it in, and these days that's more important than anything. Mauss is a pseudo-Vincent Gallo changing all the certainties that we no longer need into an idea to warm our world.
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QS 151CD
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Tripped-out flows, broken beats, and lo-fi ambience in the home of the holy bass, Sensational is back with his fifth full-length and first release for Quatermass. As session man Torture for the Jungle Brothers or Bill Laswell via label Wordsound, the man with a four-track and a drum machine created a new epic event in hiphop with his debut release Loaded With Power. Still wowing heads with his blunted, poetry-in-motion sickness, Sensational still rocks in the old school vein, playing all his sounds live, no samples allowed. Upgrading to an 8-track for his sophomore effort, Corner the Market, gave him greater flexibility along with his use of a real microphone instead of recording vocals through his headphones. Continuing on a trajectory for outer space with releases for Matador and Ipecac, the story now continues with Speaks for Itself, which destroys rules and boundaries, lodged somewhere in-between the sweet Rn'B of the masses and the radical, experimental avant-garde of the intelligentsia. In reggae, we were blessed with the maniacal genius of Lee Perry; in jazz, we had Sun Ra; and in hip-hop, no one even comes close to Sensational.
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QS 163CD
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This is the second release from the London/Düsseldorf trio comprised of vocalist/guitarist Luke Sutherland (Long Fin Killie, Bows, Mogwai), programmer/keyboardist Volker Bertelmann (Tontraeger), and bassist/synth player Stefan Schneider (To Rococo Rot, Tarwater). Following last year's debut album A Heart and Two Stars (QS 154CD), Music A.M. continue to create cascading delicate sonorities over shuffling topographies. Slow countrified vibes, methadone doo-wop for disco misfits, swan songs for ex-swingers, are set alight by deep-blue bass chords, whispering whirlpools of guitar and burbling micro-funk. Even the surf licks and pop twists have a wistful and wintry abandonment. It features five songs originally recorded during the A Heart... sessions that have been recently reworked, suspended, and melodified by the band at their Düsseldorf studio, culminating in a blissful 20 minutes that highlights Music A.M.'s love and affinity for the in-between moments of avant-pop. While the arrangements and minimal rhythms create a mood assuredly warm and embracing, Luke Sutherland's vocals oscillate between earthbound narration and sparkling voyages into the spheres. This is the sound of summer receding. Music for a world in which all that's left is longing.
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QS 123CD
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"Mathias 'Lena' Delplanque's adventure began in Ouagadougou (Burkina Faso), in 1973. Rocked by the sounds of disco, reggae, Zouk and Congolese rumba, he began his music studies (organ and piano) at a very young age. In an atypical way, his musical horizons open up radically: Tom Waits, Art of Noise, Public Enemy, Pierre Henry, Edgar Varèse, Stockhausen...His first compositions were born out of tape recorders, using makeshift overdubbing. His stumbling upon Faukner's writings, especially Light of August gave birth to Lena, an alias inspired by the wanderings of one character, Lena Grove. The debut album Lane (Quatermass QS132) came out in 2002 and featured a mix of deep digital dub, primitive art (Tom Waits), and something close to the German minimal techno-dub sound. Now, in 2004: Floating Roots, Lena's second opus. Strikes of melodies inherited from Scientist and Augustus Pablo spurt over more impressive rhythms (binary or wobbly). With the help of Black Sifichi and Tablloyd, assuming the roles of MCs, Lena has transformed into a hi-fi sound system. At the crossroads of the various influences he has absorbed since his African childhood, Mathias Delplanque reinvents dub by crossing Lee Perry with Pole, giving life to a hybrid monster of sorts."
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QS 161CD
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"Tonetraeger is made up of two exceptionally sympathico protagonists from the contemporary Düsseldorf music scene, which itself seems to be enjoying a conspicuous resurgence of late. One of them is Volker Bertelmann -- passionate, full-blooded, full-on musician (aka Hauschka and of Music A.M. fame); the other is Torsten Mauss (aka Twig), who adopts a more cold-blooded, measured approach to the job of enrapturing the world with music and design. Together they're unstoppable and, with the new Tonetraeger album, they have quite literally capitalized (upon) pop music`s innate potential: POP WILL AMUSE ITSELF! Driven by the desire for the good-old-wall-of-sound days and using the band format as their model, they enlisted Kreidler's drummer Thomas Klein and Tarwater bassist Bernd Jestram, in whose studio some of the tacks were recorded. This Is Not Here is brimful of ideas and allusions, moods and feelings. Right from the first track on you're forced to ask yourself: are they for real?!? Well, of course they're for real, and yes by the same token they're also playing a game. It's got to be pop: it's hymnal, anthemic, full of pathos, both sublime and heart-warming, and yet in every bar you perceive Tonetraeger audibly winking at you. Witty, humorous music, but music that is always true to itself --ironic, though never derisory or scornful. Sentimental, moving and measured music, which comes across as being both ingenuous and natural. Furthermore, it could be argued that This Is Not Here is Tonetraeger's blueprint for the 'New Emotionality' beyond cliché and beyond all those well-worn simulations."
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QS 169CD
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"Hardman's debut Shirts and Pistols takes stock of deep soul and white trash culture, folkrock and microprocessor-aesthetics on both sides of the Atlantic and makes it all their own. Kraftwerk live again, but with Howlin'Holf as their frontman -- or maybe it's the other way 'round? Sampling and resampling themselves Hardman deconstructs and reconstructs a relaxed cocktail of digital collages, songwriting and old school popmusic. This product contains no third party ingredients. Shirts and Pistols was produced by Hardman and Mark Bihler, who has lend his producing/remixing talents to bands like Appliance, Saint Etienne and Melllow and enjoys success in Great Britain with his project Bridge and Tunnel. Created, with extensive use of the internet, and over a two month production period in Berlin the album celebrates songs as well as collages and fragments. Hardman lives what in many cases is merely the result of artistic calculation and therefore they have a credibility, that is very rare to find these days."
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QS 146CD
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"RetroSpectre is not a greatest hits collection, rather, as the title suggests, a journey back through an ILLustrious career spanning 10 years, 5 full-length albums, and numerous singles and remixes. In fact, most of the selections here are some of Spectre's more obscure productions culled from various compilations and B-sides as well as a few previously unreleased treasures from the vaults of The Other Side. Hand picked by The Ill Saint himself and digitally remastered, these tracks sound even better now than they originally did.
Not many artists working in the hip-hop idiom have attempted to build a career on instrumentals, but, then again, Spectre's aim has always been to blow away all preconceived notions of what music is, and wreak havoc on your mindstate. Since his opening salvo, 'Crooked', which first appeared on 1994's critically-acclaimed Crooklyn Dub Consortium: Certified Dope, Volume 1 (WordSound) and subsequently became the title-track for the WordSound film of the same name, The Ill Saint has consistently elevated his art with something original, innovative, daring, demented and downright dope.
Often misunderstood for the esoteric and occult knowledge forwarded in his moody, exotic beatscapes, Spectre stands alone in the musical field as a sonic shaman conjuring up images of the Unknowable and providing a gateway to The Other Side. While his sound is often described as apocalyptic, the end only marks a new beginning in his constantly evolving cycle in progress. His work can also be described as paranoid, claustrophobic, and foreboding, a fitting reflection of the world today where terrorism and plagues, Big brother and big business have reduced humanity to a sorry state. Spectre's solution is anarchy, if only in the mental.
For, in the end, music is only music, and sound, the abstract. world where rhythm is business, Spectre's art is warfare." -- W. Nobel Savage.
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QS 149CD
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"Language Computer's essence lies in the integration of the turntable and scratches as self-sufficient instruments. It introduces a new sound marked by both experimental HipHop and electronic sonorities. Instead of being just another demonstration of technique, which is often the case in turntablist projects, here the performance has been researched in order to leave room for a certain sonic aesthetic to blend into the whole and form a unified sound. The results are technically beyond reproach, but much more subtle in content and form. Language Computer consists of two members: John Bloug takes care of all compositional aspects, while Detect handles the turntables for the scratched episodes and sonic add-ons. Influences are plural and widely spread. The paths of experimental HipHop artists the likes of Anticon, Mush, Def Jux, Project Blowed or Living Legends crisscross with the catalogs of Warp (mostly Boards of Canada, Aphex Twin, and Autechre), Tigerbeat6, or Rephlex, or even with artists such as Console, Murcof, Plaid, and Squarepusher."
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QS 154LP
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LP version. Music AM = Luke Sutherland (Mogwai, Long Fine Killie); Volker Bertelmann (Tontraeger); Stefan Schneider (To Rococo Rot, Mapstation).
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QS 143CD
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"Containing fragments of Techno, Hip Hop and Rock with a driving Industrial noise mentality, Wajid Yaseen's aka 2nd Gen's unique musical project is a bulldozing distillation of genres, intertwining and contorting sound to serve his will. His primary desire, manifesting within his inspired compositions, is to constantly challenge himself and those who are listening. His latest album titled Flicknives to be released on the fiercely independent Quatermass label, again threatens to break down any expectations of what can be done with sound. 10 tracks ranging from the melancholic opener 'Evox' to the sonic thrill of 'Middle Finger Motif' to the stripped rawness of 'Sliding into Stereotypes' -- even more seductive and adventurous than ever."
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QS 154CD
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Music AM = Luke Sutherland (Mogwai, Long Fine Killie); Volker Bertelmann (Tontraeger); Stefan Schneider (To Rococo Rot, Mapstation). "A textbook case of how a band might get together: what's conceived and desired from within, ensues without. Three individuals, three attitudes, three paths, influences, backgrounds and visions complimenting one another, composing then recording what transpires, meticulously organizing, talking, falling silent, selecting, ultimately realising the highest common denominator: Music A.M. And now their first album is here -- A Heart & Two Stars -- the title at once alluding, if you will, to the creative triumvirate, whose collective name in turn extols the early morning, itself a radiant metaphor for inception, something new, hope. Musically speaking, Music A.M. has carefully, almost bashfully woven diverse stylistic threads together: contemplative, ambient electronica, textures from country, folk and pop music, the structural ease of what is known as post-rock, and finally a synaestheticism, which I call 'data pop'. A Heart & Two Stars is cheered by its inherent wistfulness, anaesthetized by atmospheric calm and reserve, muddled by one's own nightly dreams which, when transported into daylight, become fantastic, comical everyday stories. Luke Sutherland sings as one who would be silent, whilst the instruments are played as though they were listening. Music A.M. does not purvey a torpid, pseudo-romantic, introspective indie-electronica, having discovered instead its own narrative mode, which, given the choice between the reference points Yesterday and Today, chooses Tomorrow as the beloved Present. Music, which my ears long to hear when, in the first light of day, my eyes behold something which makes me smile." -- Tobias Thomas
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QS 152CD
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"This essential collection of tracks is culled from the original albums in the 'Tino's Breaks' series, Volume 5 / Dub and Volume 6/ Halloween Dub on the Tino Corp. label -- tooled by co-producers Jack Dangers (Meat Beat Manifesto), Ben Stokes (D.H.S.) and Mike Powell (Bo Square). In the grand tradition of studio alchemists like Lee Perry, Augustus Pablo and Mad Professor, Tino and friends mingle deep deep basslines and fat effects but the furious funk still flows and the creative warp here is truly Tino's own stock in trade. Sample the homegrown and share it with a friend. Serving Tino's Dub Select, 'nicely toasted'. Tino Corp. is a record label founded by Jack Dangers and Ben Stokes dedicated to curating unique beats and sounds. As CEO and principal artist, Tino launched the label with a series of instructional albums called Tino's Breaks, which teach a new style of drumming with each installment. DJs test Tino records for scratching flexibility and overall funkiness, including DJ Krush, Cut Chemist, Nu-Mark (Jurassic Five), DJ Shadow, Z-Trip and DJ Quest. Tino Corp. is also affiliated with the Bay area turntablist collective, Future Primitive Sound whose 'associates' include Radar, Rob Swift, Faust & Shortee, Pam The Funktress (The Coup) and Romanowski."
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QS 145CD
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"Drum & Bass and Hip-Hop. People want to keep them separate. Put each in its own folder and file them away. Thus, a line has been drawn. King Rhythm completely erases this line and moves forward without any memory of one existing. So What's Left? First, music can consist of any sound, any feeling, any texture. From symphonic orchestral suites in E flat, wailing fuzz guitars of the 60's, to present day love of the digital malfunction speaking. How about a digital orchestra played through a fuzz pedal malfunctioning? Now that's more like it! Second, lyrics have always been used as a medium to initiate social change as well as a commentary tool used to address all aspect of life. This must continue! Rhyming, in this case by Son Of Nun, brought this to the forefront as the most direct and easily understandable way to get a message across. Relevance is the key to maintaining this striking power. Third: We live in a society with two focuses. Everything can be linked to these: injustice -- either internal or external and technology -- obsolete or cutting edge. Because of this constant seeking, life is non-stop without pause or fade. We need an anthem. The foundation has been built, the plan has been laid. This is What's Left."
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QS 153CD
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"Object sees Australian sonic experimentalist, Lawrence English cut a fresh pathway into the foliage-ridden realm of leftfield Hip Hop beatscapes. Tipping his hat to movements such as NYC's swelling Rooftop Music community, contemporary Hip Hop, Jamaican Dancehall and abstract electronics, English's work as Object seeks out the unfamiliar and the submerged. Object draws together the overlooked elements of many styles and clashes them together in a controlled explosion of rhythm, texture and composition. Based in Brisbane, Australia -- a place known to most as the gateway to the sunny post-Los Angeles themed lands of the Gold Coast, Object (known to friends and family as Lawrence English) has been contributing uncharacteristic sonic debris to the soundscapes of the region for almost ten years. In that time, his work has shifted focus, moving between various extremes and has seen him spawn a multitude of guises, each equipped to address a differing stylistic form and approach."
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QS 121CD
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"Vacuous Ninnies is based somewhere in the North of England. He has been living there for a year now, having returned from seven years in the scenic cultural backwater of Norwich, where he worked as a Graphic Designer. He produced a short film called Career Opportunities For Biomechanical Cyborgs, an absurd vision of a dystopian future where the machines have stolen all the jobs, which has been shown in a number of animation festivals. Vacuous Ninnies has been making electronic music since 1997, when he blew his grant and savings on a small studio (EMU ESI4000 Sampler, Spirit F1 Mixer, Korg Kaoss Pad, Boss SX700, Korg Prophecy). Before that, he used to play drums in a band called Sourmouth doing Godflesh and Pitch Shifter covers! His method of working is to sit down (very important) and grab a handful of cassette tapes picked at random from a box containing hundreds. 'The tapes can include anything from Autechre, Tortoise and Mouse On Mars to Napalm Death, Stockhausen and Madonna. it really doesn't matter. I then play these tapes on a beaten old ghetto blaster with a knackered EQ. it's completely fucked but gives everything a wonderfully warm and compressed sound. I find a clean digital sample makes the music a little too cold. The signal is then fed through a Korg Kaoss Pad to completely mash things up. I might flick across to the radio, too, to cram as much information into a sample as possible. The more that you have going on in a sample, the less control you have over it. As a result, the end product -- the music -- is far more unpredictable.'"
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QS 137CD
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"Bill Laswell's Drum'n'Bass odyssey started in 1996 with release of the album Oscillations, some ambitious work based on hardstep kicks challenging rumbling basslines and Indian influences. Treated in a open minded fusion-like approach, this material -- was and is still -- considered as a classic. So are the two other volumes: Oscillations 2 with its more jazzy-dark-chill approach, and the Oscillations Remixes featuring some wild re-interpretations by artists such as Nico, Atom Heart, Dj Grazhoppa and UI. This trilogy is now available only as a 2CD set including the entire Oscillations 1 & 2, plus a selection of the finest cuts from the remixes album, plus a new one from N-Y's Spectre. This is Final Oscillations, nothing more to say, the music is speaking for itself in this new mastered edition."
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QS 142CD
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"Elixir's second album on Quatermass Don't Be Scared is the follow up to 2000's Music Mathematics Magic on Sub Rosa and is a menacing album, full of hostility yet containing an undercurrent of beauty and humour which cleverly contrast the overall brutal feel. Don't Be Scared is a reaction against all the over-produced, slick, lightweight acts who currently infest the broader genre of dance music. Elixir deliver a no-nonsense album of raw, nasty breakbeat cocktails, full of pummelling beats, twisted samples and distorted instrumentation. Filthy dirty bass is the foundation for the majority of tracks and whatever the tempo, the beats flow with head nodding accuracy, subdued where necessary and brutally powerful for maximum impact when required. Building on that foundation is a collection of varyingly conceived sounds, both sinister and sleazy, and melodic and uplifting. Recorded to the point of overload at times, tracks appear to be heading towards collapse, conjuring up images of decay and desolation, yet there are frequent flickers of hope within the album which suggest there is light at the end of the tunnel. Which of course there is, as the final track provides the most calming moment of the album."
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QS 144CD
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"Mother Tongues is a record label dedicated to the development of female artists, whether they are MC's, DJ's or producers. Here we have a collection of tracks from Australian women, or women who have spent a substantial amount of time there and have contributed to the female hip hop scene 'collective'. It represents the various skills that the artists are developing in hip hop, so as well as hearing rap tracks you will get a taste of poetry, spoken word, instrumental production, breakbeating and skits. There's a lot of variety but it is all part of what is happening in the genre worldwide." Artists include: Beats R Us vs Jay-Q, Maya Jupiter & Moka Only, Trey, Ebony Williams, Maya Jupiter, Shorti RV, Beats R Us, Dana Diaz-Tutaan, Ebony Williams with Neotropic, and Phoenix.
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QS 141LP
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"The vinyl version of the forthcoming Rocker's Delight compilation. This DJ-friendly package contains one LP and one 12'."
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