quête:neve

In November of 1982, I went into the studio with Government Issue to record what was to be their first full-length album. Up until that time, they had only released the Legless Bull 7”EP, and the tape they recorded early 1982 would take over a year and a half to be released as the Make An Effort 7”EP. The members of G.I. excelled at driving each other crazy and there was a lot of arguing, but still we had a great session at Inner Ear and we managed to track 20 songs in one day. From the beginning the band had been divided on what to record, and it was only after much debate that they decided to leave off the material they had recorded with the earlier line-ups and only put out 10 new songs.

In early 1983 Dischord was strapped for cash, meaning that we could only work on one release at a time. Since all of our money was tied up with the manufacturing of Minor Threat’s Out of Step 12” EP, the G.I. record would have to wait. A new DC label, Fountain of Youth, expressed an interest in releasing Boycott Stabb, so it was decided to do a ‘split-label’ record. In this case, Fountain of Youth put up the money and we let them use the Dischord Records name to help with context and distribution. It has since been reissued on a number of different labels and formats, but after coming across the master tapes and hearing the songs that had been left off, we thought it would be cool to release the complete session, and to finally release the record on Dischord proper.

In going through the tapes, I discovered that most of the outtake songs were never mixed, so earlier this year I took the recordings back into the studio. Hearing the separated tracks amazed me. Such great playing and songs! With the technological advances in the recording world made multi-tracking and overdubbing so common, it’s easy to forget that studios could also be used as something more akin to a photo-booth, capturing what was happening at that very moment. Most of the early Dischord sessions were essentially ‘live’ recordings, so the bands had to be able to play, and because the budgets were minuscule, they had to get the songs down in short order. G.I. stepped up on both counts. -Ian MacKaye, August 2010

Born Aaron Livingston, GRAMMY Award winning Son Little unleashes his album Like Neptune never sounding stronger or more confident than now, showcasing his original vision of r&b, informed by his love for hip-hop imbued with tinges of funk, pop, and psychedelia
While Little's collaborations with The Roots and RJD2 had already helped him make a name for himself by that point in his adopted hometown of Philadelphia.
Critics on both sides of the pond were quick to recognize the unique power of Little's solo recordings, which stripped the past for parts that could be reconstituted into something wholly new and original. NPR hailed Little's "impeccably crafted songs" as "honest and unpretentious," while The Independent proclaimed him "a formidable talent," and Vice declared that he was "dissolving
the barrier between R&B and rock 'n' roll one tearjerker at a time."

«I am the bridge between the day and the night that never ends, I am the acid drop that beads on your dancing body, I am the metallic breakthrough that crosses your being when I catch your wet hands, I am the brutal wave that grazes your dark gaze and your tired eyes, I am the titanium and the cyprin, I am the adrenaline, I am that being that invents, desires and revolts, I am that jolt of desire that tears me when it is dark, I am a psychoactive substance diluted in honey, I am the back that you caress, I am our first and last dance, I am the one who seduces you, I am the one who obsesses you, I am the solitary dance that bewitched me the first time we met, I am the cry muffled by our restless bodies, I am the movement that pierces and unfolds as if it were the last. I am solid and liquid, mechanical and organic, I am your first and last time, I am Baraka.»

French duo Baraka present their first eponymous EP.
Dive into their cathartic universe in which they celebrate their love for club culture using powerful TR8s, incisive break beats, synthetic layers inspired by trance and trip-hop as well as cavernous female voices.

This alliance of electronic music, 90’ aesthetics and dreamy undulations intertwine like the yin and yang and promise a mystical universe with futuristic imagery.

KingUnderground presents a stunning collection of 8 releases pressed onto 7” vinyl from the Cavendish Music catalogue. Paying homage to the genre of Library Music, furthering its exposure to a new generation of listeners.
Library Music experienced its heyday in the 60s and 70s, as thousands of instrumental tracks were produced by musicians and composers for the purpose of placements in Radio, Television, and Film. This rich piece of European music history would go on to inform genres to come and speak heavily to the Jazz, Funk, and Hip Hop communities of the future.
This was often a musician's first opportunity to become a composer, or what most would commonly know now as producer of music. These composers would work with a stable of musicians to record 100’s of tracks that would go into a publishing Library. The pieces of music were recorded quickly and deliberately. The composers, musicians, and engineers understood their role in the process, it was an act of discipline amongst all involved. Often the composer was given a brief on what the end goal was for the client. The specifics would include tempo to lock into, song ending time, ect.
Never before have these tracks from the Cavendish Music Library been pressed on 7” vinyl at 45RPM. In all there will be 8 individual 45s, licensed from Boosey & Hawkes & Cavendish Music Library. The collection includes compositions by Tony Kinsey, John Scott, Sam Fonteyn, Ray Davies, and more.

There’s a boldness to Library music. It's in the forward nature of where the drums sit in the mix and the percussive playing of the keys that gives you something to grab hold of, it feels grounded yet exciting. It’s music beamed in from a different galaxy!

Glasgow’s Seated Records return with more archival Scottish New Wave material; this time, in the form of Pop Wallpaper’s disco-not-disco interpretation of the Shuggie Otis classic, “Strawberry Letter 23”. And interpretation is the right word, guitarist Evan Henderson confesses that the lyrics sang by Audrey Redpath on the record were, “err inaccurate due to pre-internet home recording translation”.

The Edinburgh band first released “Strawberry Letter 23” in 1986 as a double A side 12” alongside original song, “Nothing Can Call Me Back". The 1986 record’s sleeve states that the original - “Strawberry Letter 23" has been “re-modelled for special pleasures, namely on the dance floor”. Here the re-model has been re-modelled once more. The track is recontextualised for 2022 playing on a four track 12” that includes an unreleased instrumental demo version of the track, as well as mixes from label founder Pigeon Steve and close friend of the label, Useful Tom.

Wallpaper’s first EP “Over Your Shoulder” was released in 1984. The release received a considerable amount of radio support, not least from Radio 1’s John Peel and Janice Long, which culminated with a live session for Long’s show at the BBC’s studios in London. Released a couple of years later, Strawberry Letter received similar levels of radio play. Despite (much to the band’s confusion) being tracked by Motown UK at one point, Pop Wallpaper did not go on to receive commercial success and eventually went their separate ways.

“Strawberry Letter 23” sits in the singular historical, cultural context of mid-80s Britain. Following the explosion of punk at the end of the 1970s, in the 1980s many British bands began experimenting with new styles and instruments - always keeping an eye firmly on their punk roots. The loose percussion and synthesiser melodies have an almost new-age, balearic mood, while the falsetto vocals of singer Audrey Redpath are an unmistakable embodiment the Post-punk style of the time. The prominent bass-line suggests a reggae or disco inspiration, and bass player Myles Raymond admits that he obsessed over a Sly & Robbie Taxi records compilation around the time the band put the tune together.

This reissue includes an unreleased, unheard instrumental demo-version of the cover, “SL23”. The band recorded the demo during an nighter at Wilf’s Planet studios in Edinburgh, just after Wet Wet Wet had just finished up their own demo for “Wishing I Was Lucky” (Pop Wallpaper all insist they thought it would never be a hit). In this version, we hear the band messing around with drum machines and synths which, in a similar style to Kevin Low and Fiona Carlin on Seated 001, creates a stripped back dance floor work-out that bares almost no resemblance to any version of “Strawberry Letter 23”. In an attempt to emulate the Trevor Horne production style of the time, the band’s drummer Les Cook recalls pushing for more and more reverb on the drums during the session to a reluctant producer Chic Medley, who “eventually obliged, but needed a lot of persuading”. Much to Cook’s disappointment “the reverb was toned down when we got to the final release”.

On the B side, label boss Pigeon Steve delivers a dubbed-out and acid drenched, cosmic rendition of the track with “SL24”, before Useful Tom (son of Pop Wallpaper bass player Myles Raymond) brings the EP to an end with spacey de-construction of fractured vocals and gliding synths on the B2 with “SL25”.

Mental techno Material

Enter The Decagon assembles friends of the label - near and far - for further excursions into the abyss of industrial, folk, jazz and ambient music.

From Copenhagen hails Kristi Brud (Bride of Christ) extending us with a shimmering violin contemplation initially made for the short art film piece "The Abduction of Europa", absorbing a modal ambiance of harmonics rooted in central European renaissance. Recorded in Svalöv in rural Skåne comes a hillbilly folk jazz piece constructed by Joel and Ivar on equal parts violin, flute, upright bass and percussion, recorded somewhere in the misty era of of 2012-2015. Then, an interlude follows, reconstructed from the very early live sets of the label's own Inre Kretsen Grupp, laden with tuned metallic percussions and synthesized bow sounds. Following up, the idiosyncratic local talent Fai Ling offers a piece of Basinski/Hassel-esque horn repetitions in full deterioration. Concluding the A-side of the compilation is the band that never was - the only released material of Prins Emanuel and Golden Ivy's Börringe Kloster project - encapsulating their minimal maximal approach of low quality sound samples turned in to a wall of sound of rhythm of sorts.

The B-side picks up on different musings in the form of ambient cadence and carefully sculpted soundscapes signed Phillipp Otterbach, who gives us an unraveling journey into kalimba-hampered harmonies carried through a bed of industrial, synthesized sounds. Moonilena follows up with an eerie yet beautiful minimal composition of radio disturbances and repetitive, ear catching melodies.
Breaking the barrier of stillness, local producer and Catholic chant music fiend Digge Shim performs a rhytmical, tongue-in-cheek number that pulls widely from both the hymnal traditions of medieval Europe as well as the zonked out ambient trance sounds you'd meet in a mid nineties Goa chill-out room.
Near the tip of the decagon, we find the Cypriot producer, singer and lyricist Spivak presenting us with a feeling of the-familiar-but-never-heard in the form of an ambient pop breakbeat number with carefully crafted choirs oscillating on top - hauntingly beautiful and equally danceable.
Ending in the best of styles, well-mannered umarel and purveyor of drum-smitten metallic sounds shows us what Moisture is really about - the mental image of finding your true self dancing in purgatory in a never-released Kenneth Anger film set, encumbered with red lights and occult paraphernalia.

Never Sleep present Paula Temple 'Live from the Mill".

Recorded live in the UK's oldest rave capital Preston in the beautiful summer of 1995.

One of Paula Temple's earliest gigs, this mix was recorded at a rave in Preston 27 years ago when she was 18 years old.

Vinyl only at the time, this mixtape embodies the style she is consistently known for, a mix of raw relentless techno and rave.

In 1995 making mixtapes was the only way to go, so Paula would make mixtapes to give to her friends at clubs around the North of England such as Bugged Out (Manchester), The Orbit (Morley) and Voodoo (Liverpool).

Paula submitted this mixtape to MUZIK magazine to spend a day with techno artist Dave Angel.

Triumphantly she spent the day with Dave in his studio, was featured in the magazine and was just a young girl chasing her dream.

When we asked for this possible collaboration she dug deep and found a forgotten tape from long ago that had been lost but recently found, Archivio has brought it back to life for you to hear the younger Paula Temple's passion for the underground.

All proceeds go the amazing Womenonweb charity which supports women rights across the globe and provides abortion care for the most in need.

We are truly honored to put out a small testament in time and help those in the future.

Following his discharge from Army Service in 1960, Elvis Presley and his Manager Colonel Tom Parker had eschewed live performance and concentrated instead on Elvis's burgeoning film career. A steady stream of record releases kept Elvis's worldwide audience of fans happy, and June 1962 saw the release of this non-soundtrack LP. Pot Luck reached No.1 in the U.K and No. 4 in the U.S.A due to the compositions Kiss Me Quick, Suspicion (which went on to become one of his outstanding songs of the period), I'm Yours and That's
Someone You Never Forget (co-written by Elvis with Red West). By the end of 1962, Elvis was set to remain at the top of the tree. But this was the year which saw The Beatles and Bob Dylan make their recording debuts. The times were, indeed, a-changin'!

"Sounds sublime" - Gilles Peterson

"What a delightful, excitingly beautiful album. From "At Once Familiar " all the way through to "Same as Before" everything song feels and sounds sonically glorious. A modern day classic" - Nightmares On Wax

Taking a short sabbatical from their journey into the spiritual stratosphere and beyond, Work Money Death landed on terra firma just long enough to record a follow up to the critically acclaimed "The Space In Which The Uncontrollable Unknown Resides Can Be The Place From Which Creation Arises". The new album "Thought, Action, Reaction, Interaction" explores many of the meditative motifs that mould this unique group in their quest for the perfect sound and space. Those who are familiar with Work Money Death will know their output is as much an adventure for the listener as it was for the musicians.

"Thought, Action, Reaction, Interactions" is a salute to the now sadly deceased master of the spiritual sound Pharoah Sanders, and in particular the spontaneity of his recording process.

Each of the four tracks on "Thought, Action, Reaction, Interaction" were recorded in one take with no rehearsal and while the players may have known where they were starting off none of them were sure where they would end. As much as it is entertainment, and have no doubt this LP is an unctuous, spirit-smoothing joy from beginning to end, this is an experiment of making music in the moment. Spontaneous and spiritual in its truest sense, "Thought, Action, Reaction, Interaction" is a work of innovation and unsurpassed beauty.

"At Once Familiar" is a rising salute to the day, meditative, moving and fierce. An introduction to Burkill's emotive style, at once sweeping and succinct. It fills a room, and your head, with a very real sound, rich in texture and spirit.

"Freedom As A Heartfelt Song" is buoyant with harp, the spirit of the Yorkshire Pharoah is never more to the fore. Visceral sax rides over and uplifting backing, symbiotic and pinioned with power and beauty. Think Sun Ra horns meets Don Ellis brass.

"Song Of Healing" drifts on a river of music, guided through the rapids with a heartbeat bass line. This is temple sombre, with Eastern flavours and an overarching calm. A communion of sound, a master class in the understatement and power of the slow note, deceptively light.

"Same As Before" is spoken word playing foil to the call and response of the brass, dancing alongside and against each other. Spiritual vibrations cement ethereal forms to substantive sounds. A prayer to change."

As with the previous Work, Money, Death release (which was recorded in difficult conditions due to the Covid pandemic) the aim was to recreate a situation, in this case the impromptu and unrehearsed recording sessions of Sanders in the late 60's and early 70's, everything recorded in one take, creating a body of work that is a strong nod to a certain time and ethos but not a pastiche of it.


““Sounds sublime””
Gilles Peterson — BBC6, WorldWideFM

““What a delightful, excitingly beautiful album. From “At Once Familiar “ all the way through to “Same as Before” everything song feels and sounds sonically glorious. A modern day classic””
Nightmares On Wax —

Lady in Satin was released in 1958 on Columbia Records, catalogue CL 1157 in mono and CS 8048 in stereo. It is legendary singer Billie Holiday's penultimate album completed by the singer and released in her lifetime (her final album, Billie Holiday, being recorded in March 1959 and released just after her death).

AllMusic says: "The feeling and tension she manages to put into almost every track set this album as one of her finest achievements. 'You've Changed' and 'I Get Along Without You Very Well' are high art performances from the singer who saw life from the bottom up."

The song material for Lady in Satin derived from the usual sources for Holiday in her three-decade career, that of the Great American Songbook of classic pop. Unlike the bulk of Holiday's recordings, rather than in the setting of a jazz combo Holiday returns to the backdrop of full orchestral arrangements as done during her Decca years, this time in the contemporary vein of Frank Sinatra or Ella Fitzgerald on her Song Books series. The album consists of songs Holiday had never recorded before.

Bandleader Ray Ellis used a 40-piece orchestra, complete with horns, strings, reeds and even a three-piece choir. It would turn out to be Holiday's most expensive music production. Soloists on the album included Mel Davis, Urbie Green, and bebop trombone pioneer J. J. Johnson.

Now with our 45 RPM release, mastered from the original analogue tape by Bernie Grundman, and pressed by our own Quality Record Pressings, the best-sounding version of this historic album gives listeners an even richer sonic experience. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.

Original album produced by Irving Townsend, and engineered by Fred Plaut.

Expanded reissue of their 1980 classic Featuring the hits “Me And The Boys,” “Never Take The Place Of You,” plus four bonus tracks Packaging contains new liner notes from original Engineer Tom Mark • Available on LP, CD, and Digital Over a decade into their career, NRBQ entered Bearsville Studios and recorded their eighth album. The line-up featured Terry Adams (keyboards), Joey Spampinato (bass), Tom Ardolino (drums) and Al Anderson (guitar), plus The Whole Wheat Horns (Donn Adams and Keith Spring). The end result was Tiddlywinks, which contained the singles “Me And The Boys” and “Never Take The Place Of You.” It immediately became another fan favorite NRBQ classic album, and provided an entry point for new a new audience to come on board as “Me And The Boys” garnered repeat airplay on radio stations across the country. Now, over four decades later, Tiddlywinks returns. This time, four bonus tracks are added to the mix; “I Don’t Think Of…” and “Big Goodbyes” – recorded during the Tiddlywinks sessions and released on 1983’s Tapdancin’ Bats collection, plus the Radio and TV Spots originally issued on the flip side of the “Never Take The Place Of You” 7” single. Featuring updated artwork and liner notes from original engineer Tom Mark (who had worked with the band on At Yankee Stadium), the Tiddlywinks experience is now complete. From Mark’s liner notes: “Working with those guys was such a pleasure. We always had fun. Four amazing musician/writers really listening to each other, what else do you want? Thank you NRBQ.” Available on LP, CD, and Digital, it’s time to stop playing games, and grab some Tiddlywinks!







[g] 7. I Don’t Think Of... [Bonus Track]





[m] 13. Big Goodbyes [Bonus Track]
[n] 14. Tiddlywinks TV Spot [Bonus Track]
[o] 15. Tiddlywinks Radio Ad [Bonus Track]

green vinyl / printed sleeve / 180 grams
Hadone's nine-track LP shares a first glimpse of his immersive 'Things We Never Did' concept.

November 2022 sees the inception of not only Hadone's first ever feature LP but also his artistically driven and expansive label project 'Things We Never Did'. Marking the first release on the imprint, 'What I Was Running From' spans nine individually unique records, including a special collaboration with friend and fellow French producer Askkin. One of the standout breaks tracks on the LP, it was the first track they made together.

A culmination of all things influential in modern underground techno, blending 4x4 raw techno tracks with more spirited melodic pieces, Hadone's debut LP is a telling celebration of several immersive sub-genres combined with his renowned sonic despondency. The result: a careful balance of richly electronic emotional cuts and racy industrialised techno with a gritty minimalist feel. "Not only the music is destined to evolve, but the whole environment that goes with it will be rethought on a recurring basis" adds Jeremy.

Title track 'What I Was Running From' was made after he finally found inspiration after the pandemic and was written in an hour. "I think my best tracks are made fast, as they don't reply in any intention but feelings only, therefore they are natural and reflect my true style" adds Jeremy.

Its fast paced bassline and jittery stabs, give the track a choppy break beat influenced vibe opening the album with true intent. 'What I Was Running from' offers a transcendental eye through the looking glass at a project that incorporates music, a digital interactive universe, a fashion collaboration with precocious
Parisian footwear brand Phileo. A creative collaboration which has resulted in a limited collection of 2 styles, available on both TWND's digital universe and Phileo direct.

For the 1st year designs, graphism by Raphael Clerget "leverages the power of art to underline the importance of saving our relation to time and improve focus." Raphael brings his vision of complexity and darkness through refined aesthetics carried out for the digital universe, label and merchandise.

To commemorate Snow Patrol's 25th anniversary year Jeepster will be making their second album 'When It's All Over We Still Have To Clear Up' available on vinyl for the very first time. Specially remastered for the format the initial pressing of the LP will include a bonus gold coloured 7' featuring two never before released songs.

Snow Patrol released their second record, 'When Its All Over We Still Have To Clear Up' through Jeepster Recordings on 12th March 2001. The album was the follow up to their critically acclaimed debut 'Songs For Polar Bears' which was released in 1998. The rest, as they say, is history...

The Florence, SC-based multi-instrumentalist Alex Melton, known for his renditions of Punk Songs as country influenced songs on YouTube, has announced his new album 'Southern Charm'. The record, which is out 23rd January 2023, is Alex's debut album on label Pure Noise Records. Southern Charm is made up of two halves, amped-up versions of country classics and Alex's trademark alternative spin on punk and metal tracks. The album synthesizes all of Melton’s influences, from the country staples played on a loop in his childhood home through scene icons like blink-182, The Starting Line, A Day to Remember and Four Year Strong. In the first half of Southern Charm it includes covers of Tim McGraw’s nostalgic “Something Like That” (ft. Ryan Scott Graham) and Garth Brooks’ “Friends In Low Places'' the second half offerings come from The Story So Far, The Amity Affliction and Stick To Your Guns. Proficient on drums, guitar, bass, keyboards, and trumpet, Melton typically produces all of his YouTube covers at his home studio, a testament to his insatiable desire for knowledge and self-improvement – and a snapshot of how far he’s come as an artist and recording engineer throughout the years. “All of the technology has changed so much since I first started,” he says, noting his first video was a pop-punk cover of Taylor Swift’s “We Are Never Ever Getting Back Together.” “I started with a Home Recording for Dummies book and an original GoPro, which at the time was the cheapest way to get HD footage on YouTube.” Now armed with vastly more knowledge and resources, Southern Charm finds him working with outside producers for the first time, bringing in Tom Denney (A Day to Remember, who helmed the rock-based country covers) and Alan Day (Four Year Strong, who produced the country-based rock songs) to offer new perspective and add a level of vision and cohesion to the project.

2022 Repress !

Disco Club is a groundbreaking 1978 EP of experimental electronic
disco created by Fèvre and his collaborator under their tongue-in-cheek aliases Joachim Sherylee and Junior Claristidge. The Aphex Twin-backed Rephlex label notably reworked a handful of Disco Club tracks in 2004, however this is the first ever reissue of the EP in its complete, originally intended sequence. So synonymous is Fèvre's career with this release, he continues to perform internationally as Black Devil Disco Club today. An impossibly rare piece, this edition has been treated to a remaster from the original tapes by Fèvre himself.